PART  I* 

Engravings 
Etchings 
Drawings 
Paintings 
Fine  Art  Books 


EVENINGS  OF 
MARCH  25th,  26th, 
27th,  28th  and  29th 
AFTERNOON  OF 
MARCH  29th 


BROOKLYN 


AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH 
NEW  YORK 


PART  I. 
Engravings 
Etchings 
Drawings 
Paintings 
Fine  Art  Books 


THE  VALUABLE 

ART,  LITERARY  AND  SCIENTIFIC  PROPERTY 
NUMISMATICS  AND  CLASSICAL  ANTIQUITIES 

LIBRARY 

OF  THE 

UNIVWBEONGINOSTO  THE  ESTATE  OF  THE  LATE 

PROFESSOR  CHARLES  E.  WEST 

BROOKLYN 

TO  BE  DISPOSED  OF  AT  ABSOLUTE  PUBLIC  SALE 
BY  ORDER  OF  THE  EXECUTORS 

ON  MONDAY,  MARCH  25TH,  AND  FOLLOWING  DAYS 

AT  2.30  AND  7.30  O’CLOCK,  P.M. 

AT  THE  AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH 

Where  the  entire  Collection  will  be  on  View  Day  and  Evening  from 
Thursday,  March  21st,  until  date  of  Sale 
inclusive  (Sunday  excepted) 

THE  SALE  WILL  BE  CONDUCTED  BY  THOMAS  E.  KIRBY  OF  THE 

AMERICAN  ART  ASSOCIATION,  Managers 


NEW  YORK 
1901 


Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 

University  of  Illinois  Urbana-Champaign  Alternates 


https://archive.org/details/valuableartliter01amer 


INTRODUCTORY  NOTE 


Between  the  anonymous  Italian  artists,  engravers  of  nielli,  and  the  pass- 
ing away  of  Eduard  Mandel — “ the  last  of  the  great  line  engravers  ” — 
lie  four  and  a half  centuries.  In  this  period,  relatively  a brief  one,  thou- 
sands of  artists  produced  hundreds  of  thousands  of  plates  of  all  degrees  of 
excellence,  so  that  even  the  wealthiest  and  most  enthusiastic  collector 
cannot  hope  to  cover  the  entire  field,  but  must,  perforce,  set  some  limit 
to  his  collection,  or  it  will  become  unwieldy  through  sheer  force  of  num- 
bers, and  is  likely  to  lose  in  interest  by  its  failure  to  fully  represent  any 
one  period  or  process  of  the  art. 

In  the  formation  of  his  collection,  the  catalogue  of  which  follows,  the 
late  Dr.  West  pursued  an  admirable  plan.  He  seems,  firstly,  to  have 
brought  together  representative  works  by  the  best  engravers — thereby 
illustrating  the  history  of  the  art  from  its  infancy  to  its  maturity,  and  then 
to  its  gradual  decline — and,  this  accomplished,  to  have  turned  his  atten- 
tion, with  excellent  results,  to  the  acquisition  of  the  choicer  works  of  such 
artists  as  specially  appealed  to  him.  Among  line  engravers,  Albert  Durer, 
Hendrik  Goltzius,  Sir  Robert  Strange,  William  Sharp,  Paolo  Toschi, 
Raphael  Morghen,  and  Eduard  Mandel.  Among  etchers,  Rembrandt  (of 
course),  Van  Ostade,  and  other  Dutch  artists.  With  the  exception  of 
Gerard  Edelinck,  the  great  engravers  of  the  period  of  Louis  XIV. -Louis 
XV. — Nanteuil,  Masson,  Pierre  Drevet,  and  Pierre  Imbert  Drevet — seem 
to  have  interested  him  to  a lesser  degree  and  only  as  pages  in  the  history 
of  the  art.  The  bogie  that  haunts  many  collectors — the  craving  for  “ the 
complete  works  ” of  each  artist — did  not  trouble  him  at  all,  and  the  collec- 
tion reflects,  as  all  such  collections  should,  the  personal  preferences  of  its 
maker. 

Possibly  fine  prints  were  more  easily  found  forty  years  ago  than  is 
now  the  case ; certainly  their  cost  was,  in  many  instances,  vastly  less.  At 
this  late  day  it  would  be  exceedingly  difficult  to  duplicate  at  any  price 
such  impressions,  in  such  condition,  of  engravings  by  Sir  Robert  Strange 
and  Paolo  Toschi  as  the  late  Dr.  West  succeeded  in  procuring — proofs 
selected  by  Toschi  himself,  and  bearing  his  autographic  annotations;  Sir 


Robert  Strange  represented  by  an  almost  complete  set  of  his  works,  all  as 
originally  issued,  their  margins  still  untrimmed. 

A glance  at  the  catalogue  itself  will  demonstrate  better  than  words 
can  do  that  both  Diirer  and  Rembrandt  are  worthily  represented,  not  only 
in  respect  of  numbers,  but,  what  is  even  more  important,  as  regards  choice 
of  subjects  and  quality  of  impression.  Such  engravings  as  “ The  Knight, 
Death,  and  the  Devil,”  “ Saint  Hubert,”  “ Saint  Jerome  in  his  Cell,” 
“ The  Carrying  Off  of  Amymone,”  “ The  Great  Fortune,”  and  “ The 
Effects  of  Jealousy,”  by  Diirer;  or  “ Christ  Healing  the  Sick,”  “The  Three 
Crosses,”  the  portraits  of  Uytenbogardus,  Coppenol,  and  of  Rembrandt 
himself,  would  give  distinction  to  any  collection,  and  when  these  prints 
are  reinforced  by  several  hundred  others,  in  fine  condition  and  equally 
representative  of  their  respective  engravers  or  etchers,  the  artistic  worth 
of  such  a collection  as  this  one  is  at  once  apparent. 

Among  modern  masters  the  first  place  has  been  accorded  to  the  mag- 
nificent etchings  of  Sir  Seymour  Haden.  In  this  case  personal  friendship 
was  added  to  appreciation  of  the  artist’s  works,  and  the  result  has  been  a 
collection  which,  for  its  size,  is  as  fine  a one  as  any  amateur  need  hope  for. 
The  famous  set,  “ Etudes  a l’eau  forte,”  is  here,  complete,  and  bearing 
upon  its  flyleaf  an  autographic  dedication  by  the  artist  to  Dr.  West.  Here 
are  “ Calais  Pier,”  “ Sunset  in  Ireland,”  “Shere  Mill  Pond” — the  first  state 
— and  many  another  masterpiece,  all  in  fine  impression,  many  with  anno- 
tations in  the  handwriting  of  the  etcher.  Fortuny  is  represented  by  al- 
most his  entire  etched  work,  and  if  Whistler’s  etchings  are  few  in  number, 
they  are  excellent  in  quality. 

Lithography  does  not  appear  to  have  interested  Dr.  West  to  any 
great  extent,  but  the  one  series  of  lithographs  owned  by  him — the  mag- 
nificent Dresden  Gallery  set — is  a collection  in  itself;  an  ample  excuse  for 
the  absence  of  all  other  examples. 

Of  especial  interest  to  all  admirers  of  William  Blake  and  collectors 
of  his  work  will  be  the  sketches  and  water-colors  by  this  original  and 
highly  imaginative  artist.  To  many  persons  this  collection  will  be 
familiar,  since  Dr.  West  lent  it,  some  years  ago,  for  exhibition  at  the 
Museum  of  Fine  Arts  in  Boston,  and  at  the  gallery  of  Messrs.  Frederick 
Keppel  & Co.,  in  New  York.  To  such  as  saw  it  then  no  word  need  be 
said ; to  others  this  opportunity  of  seeing  and  acquiring  characteristic 
examples  of  Blake’s  original  work  should  be  a welcome  one. 

FitzRoy  Carrington. 


VI 


INDEX 


ENGRAVINGS  AND  ETCHINGS  BY  THE  OLDER  MASTERS 

CATALOGUE  Nos.  i to  530  INCLUSIVE 

ETCHINGS  BY  MODERN  MASTERS 

CATALOGUE  Nos.  531  to  641  INCLUSIVE 

COLLECTIONS  OF  ETCHINGS,  BY  MODERN  MASTERS,  ISSUED 

AS  SETS 

CATALOGUE  Nos.  642  to  653  INCLUSIVE 

BOUND  VOLUMES  OF  ENGRAVINGS  AND  ETCHINGS 

CATALOGUE  Nos.  654  to  660  INCLUSIVE 

PHOTOGRAPHS 

CATALOGUE  Nos.  661  to  695  INCLUSIVE 

MISCELLANEOUS  ENGRAVINGS,  ETCHINGS,  AND  LITHOGRAPHS 

CATALOGUE  Nos.  696  to  766  INCLUSIVE 


ORIGINAL  DRAWINGS  BY  WILLIAM  BLAKE 

CATALOGUE  Nos.  767  to  806  INCLUSIVE 

ORIGINAL  DRAWINGS  BY  VARIOUS  ARTISTS 

CATALOGUE  Nos.  807  to  824  INCLUSIVE 


FRAMED  PICTURES 

CATALOGUE  Nos.  825  to  907  INCLUSIVE 


OIL  PAINTINGS 

CATALOGUE  Nos.  908  to  924  INCLUSIVE 

/ 


FINE  ART  BOOKS 

CATALOGUE  Nos.  925  to  1390  INCLUSIVE 


viii 


CONDITIONS  OF  SALE. 


1.  The  highest  Bidder  to  be  the  Buyer,  and  if  any  dispute  arise  between 
two  or  more  Bidders,  the  Lot  so  in  dispute  shall  be  immediately  put  up  again 
and  re-sold. 

2.  The  Auctioneer  reserves  the  right  to  reject  any  bid  which  is  merely  a 
nominal  or  fractional  advance,  and,  therefore,  in  his  judgment,  likely  to  affect 
the  Sale  injuriously. 

3.  The  Purchasers  to  give  their  names  and  addresses,  and  to  pay  down  a 
cash  deposit,  or  the  whole  of  the  Purchase-money,  if  required,  in  default  of  which 
the  Lot  or  Lots  so  purchased  to  be  immediately  put  up  again  and  re-sold. 

4.  The  Lots  to  be  taken  away  at  the  Buyer’s  Expense  and  Risk  upon  the 
conclusion  of  the  Sale , and  the  remainder  of  the  Purchase-money  to  be  abso- 
lutely paid,  or  otherwise  settled  for  to  the  satisfaction  of  the  Auctioneer,  on  or 
before  delivery  ; in  default  of  which  the  undersigned  will  not  hold  themselves 
responsible  if  the  Lots  be  lost,  stolen,  damaged,  or  destroyed,  but  they  will  be 
left  at  the  sole  risk  of  the  Purchaser. 

5.  The  undersigned  will  not  hold  themselves  responsible  for  the  correctness 
of  the  description , genuineness , or  authenticity  of,  or  any  fault  or  defect  in,  any 
Lot  j and  make  no  Warranty  whatever. 

6.  To  prevent  inaccuracy  in  delivery,  and  inconvenience  in  the  settlement 
of  the  Purchases,  no  Lot  can,  on  any  account,  be  removed  during  the  Sale. 

7.  Upon  failure  to  comply  with  the  above  conditions,  the  money  deposited 
in  part  payment  shall  be  forfeited  ; all  Lots  uncleared  within  one  day  from 
conclusion  of  Sale  shall  be  re-sold  by  public  or  private  sale,  without  further 
notice,  and  the  deficiency  (if  any)  attending  such  re-sale  shall  be  made  good  by 
the  defaulter  at  this  Sale,  together  with  all  charges  attending  the  same.  This 
Condition  is  without  prejudice  to  the  right  of  the  Auctioneer  to  enforce  the 
contract  made  at  this  Sale,  without  such  re-sale,  if  he  thinks  fit. 


THE  AMERICAN  ART  ASSOCIATION, 

Managers. 


Thomas  E.  Kirby, 

A uctioneer. 


SPECIAL  NOTICE. 


This  being  an  Executors’  sale  to  close  the  estate,  a cash  deposit 
will  be  required  from  every  purchaser  without  exception,  and  purchases 
must  be  settled  for  previous  to  delivery. 

Intending  purchasers  wishing  to  avoid  the  trouble  and  confusion 
of  making  a deposit  during  the  sale  can  make  arrangements  previous 
to  day  of  sale,  with  the  undersigned,  at  their  office,  6 East  Twenty- 
third  Street. 

AMERICAN  ART  ASSOCIATION,  Managers . 


Thomas  E.  Kirby,  Auctioneer. 


ENGRAVINGS,  ETCHINGS,  DRAWINGS, 
PHOTOGRAPHS  AND  OTHER  PRINTS 


CATALOGUE  (Nos.  i to  892  inclusive)  COMPILED  BY 

FITZROY  CARRINGTON 
OF  THE  FIRM  OF 

FREDERICK  KEPPEL  & CO. 


. 


; ' ' : ' ■■  ■ ' : ■ I ' ■ ■ , 

- 


. 


' 


r 


) 


/ 


CATALOGUE 

FIRST  EVENING’S  SALE 
Monday,  March  25 th 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  7.30  O’CLOCK 


ENGRAVINGS  AND  ETCHINGS 

BY  THE  OLDER  MASTERS 


NOTE — The  items  marked  with  an  asterisk  were  purchased  some  thirty  years  ago  by 
the  late  Professor  West  from  the  collection  of  Sir  Edmond  Temple,  London. 


ALDEGREVER,  HEINRICH 

Born  at  Paderborn  in  1502;  died  at  Soest  in  1562.  A pupil  of  Albert  Diirer. 

1 — Portrait  of  Aldegrever  at  the  Age  of  Thirty-five 

Bartsch,  No.  189.  Very  fine  impression,  in  perfect  condition.  From  the  Mary  T 
Morgan  Collection.  Rare. 


ANDERLONI,  FAUSTINO 

Born  at  St.  Eufemia,  near  Brescia,  in  1766;  died  in  1847. 

* 2 — The  Assumption  of  the  Virgin 

After  Guido  Reni.  This  plate  was  partly  engraved  by  Garavaglia,  and  was  finished 
by  Anderloni.  Very  fine  impression,  in  perfect  condition,  and  with  full  margins. 


1 


ANDREWS,  J. 

Portrait  of  John  Quincy  Adams  (After  G.  P.  A.  Healy) 

Engraved  in  1848.  Fine  impression.  Full  margins. 


3 — 


ANONYMOUS 

4 — Niello 

The  original  plate  and  an  impression  printed  from  it. 

The  earliest  prints  taken  from  engraved  plates  were  nothing  more  than  experi- 
mental impressions  printed  by  goldsmiths  before  they  filled  the  incised  lines  of  their 
decorative  designs  (on  gold  or  silver)  with  “ niello,”  or  black  enamel,  which  was  after- 
wards allowed  to  harden. 

In  the  present  instance  these  lines  have  not  been  filled,  and  the  plate  is  as  the 
engraver  left  it. 


AQUILA,  FRANCESCO 

Born  at  Palermo  in  1676.  He  worked  at  Rome,  about  1700,  in  the  style  of  Santi 
Bartoli. 

5 — Disputa  di  S.  Sacramento  (After  Raphael) 


AUDRAN,  BENOIT,  THE  ELDER 

Born  at  Lyons  in  1661;  died  in  1721.  A pupil  of  his  uncle,  Gerard  Audran. 

6 — Portrait  of  Fenelon  (After  Joseph  Vivien) 

Le  Blanc,  No.  258.  Second  state,  with  the  address  of  Audran. 


AUDRAN,  GERARD 

Born  at  Lyons  on  August  2,  1640.  A pupil  6f  his  father,  Claude,  and  of  his  uncle, 
Charles  Audran.  He  also  studied  under  Le  Brun,  and  in  Italy  under  Carlo  Maratti. 
In  1681  he  was  called  to  Paris  as  engraver  to  Louis  XIV.,  and  died  in  Paris  in  1703.* 

“ Gerard  Audran  was  one  of  the  most  skilful  draughtsmen  of  the  French  School, 
and  his  works  are  characterized  by  good  taste,  sentiment,  and  originality,  as  well  as  by 
great  technical  skill  and  remarkable  effects  of  chiaroscuro.  In  his  own  time  he 


2 


acquired  a reputation  greater  than  that  of  either  Nanteuil  or  Edelinck.” — “ The 
Masters  and  Masterpieces  of  Engraving.” 

7 — Decorations  in  the  Gallery  at  Versailles  (After  Charles  Le  Brun) 

Nineteen  plates,  engraved  by  Audran  in  conjunction  with  Desplaces,  Dupuis,  and 
others.  A fine  series,  in  excellent  .condition.  Full  margins.  Nineteen  pieces.  One 
lot. 


AUDRAN,  JEAN 

Born  at  Lyons  in  1667;  died  at  Paris  in  1756.  A pupil  of  his  uncle,  Gerard  Audran. 

8 — Portrait  of  Antoine  Coyzevox  (After  Hyacinthe  Rigaud) 

Engraved  by  Audran  for  his  admission  into  the  Academy  in  1708. 

BALECHOU,  JEAN  JOSEPH 

Born  at  Arles  in  1719;  died  at  Avignon  in  1764.  A pupil  of  Lepicie  of  Paris. 

9 —  ■ Portrait  of  Don  Philip  of  Spain  (After  Vialj) 

A fine  impression  in  perfect  condition. 

( ' ' ''  xoutra 

BARTOLOZZI,  FRANCESCO 

Born  at  Florence  in  1727;  died  at  Lisbon  in  1815.  In  1764  he  was  persuaded  by 
Dalton,  Librarian  to  King  George  III.,  to  come  to  England.  Soon  after  his  arrival 
he  was  appointed  Engraver  to  the  King,  and  upon  the  foundation  of  the  Royal 
Academy  in  1769  Bartolozzi  was  nominated  as  one  of  the  original  members.  Though 
he  did  not  originate  the  stipple  manner  of  engraving,  he  carried  the  technical  fineness 
of  the  art  to  a perfection  surpassing  any  subsequent  work. 

10 —  Cleopatra  Persuading  Meleager  to  Defend  his  Country  (After  An- 

gelica Kauffman) 

Fine  early  impression,  the  title  in  open  traced  letters.  In  perfect  condition. 
Printed  in  red.  Large  margins. 

* 11 — The  Dowager  Queen  of  Edward  IV.  Parting  with  the  Duke  of  York 
to  the  Two  Archbishops,  by  Order  of  Richard  III.  (1483)  (After 
Cipriani) 

Proof  before  letters,  with  the  names  of  painter  and  engraver  lightly  traced.  In 
perfect  condition.  Printed  in  brown.  Large  margins. 

3 


12 — Venus  with  Two  Sea  Nymphs  (After  Cipriani) 

Venus  with  a Sea  Nymph  and  Two  Cupids  (After  Cipriani) 

Proofs  before  all  letters.  Fine.  Two  pieces.  One  lot. 

* 13 — Psyche  Going  to  Bathe  (After  Cipriani) 

Psyche  Going  to  Dress  (After  Cipriani) 

A pair.  Fine  impressions,  in  perfect  condition.  Full  margins.  One  printed  in 
red,  one  printed  in  brown.  Two  pieces.  One  lot. 

14 — A Painter  Persuading  Beauty  to  Disrobe  (After  Angelica  Kauffman) 

Proof  before  letters,  with  the  names  of  painter  and  engraver  lightly  traced.  In 
perfect  condition.  Printed  in  brown.  Large  margins. 

* 15 — Clytie  (After  Annibal  Caracci) 

Fine  original  impression.  Has  been  slightly  folded.  This  fine  line  engraving  is 
one  of  Bartolozzi’s  best  plates,  and  would  entitle  him  to  a high  place  among  the  great 
line  engravers  had  he  executed  no  other  plate  than  this. 

* 16 — Henry  and  Emma  (After  Opie) 

Damon  and  Musidora  (After  Opie) 

A pair.  In  excellent  condition.  Full  margins. 

17 — Merit 

Vanity 

Hope 

Three  pieces  after  Bartolozzi’s  own  designs. 

Also 

Love  Cares’d  (After  Cipriani) 

Printed  in  red.  Four  pieces.  One  lot. 

18 — King  Henry  II.  and  Fair  Rosamond 

Jane  Shore  Introduced  to  King  Edward  IV. 

A pair.  After  Cipriani.  In  excellent  condition.  Printed  in  red.  Two  pieces. 
One  lot. 


4 


ig — Lady  Jane  Gray  Giving  her  Table  Book  to  Sir  John  Gage 

Queen  Margaret  and  the  Robber 

A pair.  After  Angelica  Kauffman.  In  excellent  condition.  Printed  in  brown. 
Two  pieces.  One  lot. 

20 — Venus  with  the  Armor  of  Mars 

and  a Companion  Piece 

A pair.  In  excellent  condition.  Printed  in  red.  Two  pieces.  One  lot. 

21 — Departure  of  Mary,  Queen  of  Scots,  to  France  when  a Child 

(After  Westall) 

Flight  of  Mary,  Queen  of  Scots,  to  England 

(After  Westall) 

A pair.  In  excellent  condition.  Printed  in  red.  Two  pieces.  One  lot. 

22 — Rural  Innocence  (After  Harding) 

And  three  other  pieces.  One  lot. 

* 23 — Cupids  with  a Wreath  (After ‘Cipriani) 

and 

Expectation 

By  Gardiner.  After  Bunbury.  Printed  in  brown.  Two  pieces.  One  lot. 

24 — Cupids  Playing  (After  Cipriani) 

* Cupids  Playing  (After  Guercino) 

Agosto  (After  Zocchi) 

Three  pieces.  One  lot. 

25 — Music 

Painting 

Two  pieces.  Engraved  by  Marcuard.  After  Cipriani.  In  excellent  condition. 
Printed  in  red.  One  lot. 

26 — Affection  and  Innocence 

Engraved  by  Tomkins.  After  Bartolozzi.  In  excellent  condition.  Printed  in 
brown. 


5' 


27 — Abelard  and  Eloisa  Surprised  by  Fulbert 

The  Parting  of  Abelard  and  Eloisa 

A pair.  Engraved  by  Scorodomoff,  after  Angelica  Kauffman.  In  excellent  con- 
dition. Printed  in  red.  T\yo  pieces.  One  lot. 

28 — Cupid  Disarm’d  by  the  Graces 

The  Triumph  of  Love 

A pair.  Engraved  by  Scorodomoff,  after  Angelica  Kauffman.  Open  letter  proofs, 
in  excellent  condition.  Full  margins.  Two  pieces.  One  lot. 

29 — Cupid’s  Revenge 

Engraved  by  Scorodomoff,  after  Angelica  Kauffman.  In  excellent  condition.  Full 
margins. 

* 30 — Aglaia  Bound  by  Cupid  (After  Angelica  Kauffman) 

Open  letter  proof,  in  fine  condition.  Full  margins. 

31 — Narcissus 

Jupiter  and  Leda 

Engraved  in  line,  after  the  paintings  of  F.  Viera.  The  landscapes  were  engraved 
by  B.  Comte.  Two  pieces.  One  lot. 


BAZIN,  NICOLAS 

Born  at  Troyes,  in  Champagne,  about  1636.  A pupil  of  Claude  Mellan.  He  worked 
in  Paris,  and  his  plates  bear  dates  from  1681  to  1707. 

32 — Ecce  Homo  (After  Charles  Le  Brun) 

The  Virgin 

Fine  impressions  in  perfect  condition. 

Also 

The  Vision  of  Ezekiel  (After  Raphael,  by  A.  Morghen) 

The  Magdalen  (After  Correggio,  by  Guerin) 

The  Madonna  of  the  Chair  (After  Raphael,  by  Ulmer) 

And  two  others.  Seven  pieces.  One  lot. 

6 


BEAUVARLET,  JACQUES  FERMIN 

Born  at  Abbeville  in  1731;  died  at  Paris  in  1797.  A pupil  of  Charles  Dupuis  and 
of  Laurent  Cars. 

* 33 — Telemachus  in  the  Isle  of  Calypso  (After  J.  Raoux) 

Andresen,  No.  9.  First  proof  state,  before  all  letters.  Very  fine  impression,  in 
perfect  condition.  Full  margins.  Rare. 

Also 

La  Frontiere  (After  Vanasse) 

Two  pieces.  One  lot. 


BETTELINI,  PIETRO 

Born  at  Lugano  in  1763;  died  at  Rome  in  1828.  A pupil  of  Gandolfi  and  Bartolozzi. 

34 — Saint  Simon 

Saint  Jacob 
Saint  Paul 
Saint  Peter 

After  the  Statues  by  Thorwaldsen.  Four  pieces,  the  last  two  engraved  by  Pietro 
Folo.  All  fine  impressions.  One  lot. 


BISI,  MICHELE 

Born  at  Genoa  in  1788.  A pupil  of  Rosaspina  and  of  Longhi. 

35 — Venus  Embracing  Cupid  (After  Appiani) 

A most  beautiful  proof  before  all  letters,  printed  on  India  paper.  In  the  lower 
margin  is  tvritten,  seemingly  by  the  engraver:  “ Exemplaire  avec  une  feuille  blanc  dans 
les  feuillages,”  and  at  the  bottom,  in  the  same  handwriting,  “ Pour  Mons.  Richard 
Sparling  Berry  Esqe.  cet  exemplaire  en  papier  de  la  Chine,”  etc.,  etc.  It  is  evidently 
a presentation  proof  selected  by  Bisi  as  a gift  for  Mr.  Berry.  Of  the  finest  quality. 
Full  margins. 


7 


BOISSIEU,  JEAN  JACQUES  DE 

Born  at  Lyons  in  1736;  died  there  in  1810. 


36 — A Landscape,  with  Cattle  (After  Ruysdael) 

37 — The  Tree-fellers  (After  his  own  design) 

38 — The  Portrait  (After  his  own  design) 


BOLSWERT,  SCHELTE  A. 

Born  at  Bolswert  about  1586;  died  at  Antwerp  in  1659.  Brother  of  Boetius  Adam 
a Bolswert,  with  whom  he  settled  in  Antwerp,  where  he  became  one  of  the  most  cele- 
brated engravers  of  his  country.  His  finest  works  are  after  the  paintings  of  Rubens 
and  Van  Dyck. 

39 — The  Nativity  (After  Rubens) 

Basan,  No.  7.  Smith.  Cat.  rais.  No.  934.  Fine  impression,  in  perfect  condition. 
With  margin.  Without  the  address  of  Van  den  Enden  or  Gil.  Hendricx. 


BOLTEN,  ROLANDE  DE 

40 — The  Descent  from  the  Cross  (After  Tintoretto) 

Engraved  in  1604.  In  perfect  condition. 


BONASONE,  GIULIO 

Born  at  Bologna  about  1500;  died  about  1580.  A pupil  of  Marc  Antonio  Raimondi. 
His  plates  are  interesting  from  their  directness  of  purpose.  When  he  engraved  from 
the  works  of  other  artists,  it  was  usually  from  their  drawings  and  not  from  their 
paintings  that  he  worked. 

41 — The  Virgin  and  Child  in  the  Clouds ; Saint  John  the  Baptist  and  Saint 
Jerome  in  the  Foreground  (After  Parmigiano) 

Bartsch,  No.  62.  Good  impression,  in  excellent  condition.  On  the  back  is  the 
autograph  “ P.  Mariette  ” and  the  date  “ 1698.”  The  name  of  Mariette  written  thus 
on  the  back,  or  on  the  face  of  a print,  is  the  highest  endorsement  as  to  its  quality. 

8 


BOTH,  JAN 

Born  at  Utrecht  in  1610;  died  there  in  1650.  A pupil  of  his  father  and  of  A 
Bloemaert. 

42 — The  Bridge 

Has  been  pasted  down.. 


BOYDELL,  JOHN 

Born  at  Dorington  in  1719;  died  at  London  in  1804.  Eminent  as  an  engraver  but 
still  more  so  as  a publisher. 

* 43 — ■ The  Exposition  of  Cyrus  (After  Castiglione) 

Engraved  in  1765.  Fine  impression.  Full  margin. 


BROEN,  WILHELM  DE 

44 — The  Conversion  of  Saul  (After  Rubens) 

Fine  impression,  in  perfect  condition. 

BROMLEY,  WILLIAM 

Born  at  Carisbrook,  in  the  Isle  of  Wight,  in  1769.  He  was  elected  an  associate 
engraver  of  the  Royal  Academy  in  1819,  and  died  in  1842. 

* 45 — Boy  and  Tablet  (After  Leonardo  da  Vinci) 

Open  letter  proof.  Full  margins. 


BROWN,  G.  L. 

46 — The  Waterfall 

And  three  other  subjects.  Four  pieces.  Proofs  before  letters. 

47 — The  Stone  Bridge 

And  three  other  subjects.  Four  pieces.  Proofs  before  letters. 


9 


BROWNE,  JOHN 

Born  at  Oxford  in  1719;  died  in  London  in  1790. 

* 48 — Going  to  Market  (After  Rubens) 

Very  fine  proof,  with  the  names  of  the  artists  and  with  the  publication  line  lightly 
traced  with  the  needle.  Before  letters.  Brilliant  impression.  With  full  margins.  Fine 
and  rare. 


* 49 — Adonis  Carried  Off  by  Venus 

Diana  Received  by  Venus 

After  Swanevelt.  Open  letter  proofs.  Very  fine  impressions,  in  perfect  condition. 
With  full  margins.  Two  pieces. 


BURKE,  THOMAS 

Born  at  Dublin  in  1749;  died  in  London  in  1815.  He  was  a pupil  of  Dixon,  and 
engraved  chiefly  after  the  works  of  Cipriani  and  Angelica  Kauffman.  His  stipple 
engravings  are  even  more  beautiful,  in  some  instances,  than  those  of  his  contemporary, 
Bartolozzi. 

50 — The  Graces  Decorating  a Statue  with  Garlands  (After  Angelica 

Kauffman) 

Very  fine  impression,  in  perfect  condition.  Full  margins.  Printed  in  red.  One 
of  Burke’s  most  beautiful  plates. 


BURNET,  JOHN 

Born  at  Edinburgh  in  1784.  In  1806  he  went  to  London,  and  shortly  after  com- 
menced the  series  of  engravings,  after  the  paintings  by  Wilkie,  which  have  rendered 
him  famous.  He  died  in  1868. 

51 — The  Reading  of  a Will  (After  David  Wilkie) 

Open  letter  proof.  Fine.  The  original  painting  is  in  the  Gallery  of  Modern 
Painters  in  Munich.  The  engraving  is  one  of  Burnet’s  best  plates. 

52 — The  Blind  Fiddler  (After  David  Wilkie) 

Fine  original  impression,  in  perfect  condition. 


10 


53— 


The  Dancing  Dolls 
The  Valentine 

Engraved  by  Burnet  after  his  own  paintings.  Open  letter  proofs.  Lower  margins 
slightly  trimmed.  Mounted.  Two  pieces. 

54 — The  Errand  Boy 

Etched  by  Raimbach,  after  David  Wilkie. 

In  Possession 

Engraved  by  Benjamin  Gibbon,  after  Edwin  Landseer.  Open  letter  proof  and 
proof  before  letters,  respectively.  Fine  impressions.  Two  pieces. 


BURT,  CHARLES 

Born  in  Scotland  in  1822.  Worked  in  Brooklyn  for  many  years,  and  died  there 
in  1892. 

55 — Portrait  of  Henry  Wadsworth  Longfellow 

Engraved  by  Burt  from  his  own  design.  Dedication  proof.  In  the  autograph 
of  the  engraver:  “ Dr.  Chas.  E.  West  with  comps,  of  the  Engraver  Chas.  Burt.”  Very 
fine  proof  on  India  paper.  The  best  engraved  portrait  of  Longfellow. 


CALAMATTA,  LUIGI 

Born  at  Civita  Vecchia  in  1802.  In  1822  he  went  to  Paris,  and  became  a follower 
of  Ingres.  He  died  at  Milan  in  1869.  His  engravings  are  noticeable  for  firmness  of 
design,  combined  with  delicacy  and  softness  of  treatment. 

56 — Francesca  da  Rimini  (After  Ary  Scheffer) 

Open  letter  proof.  Full  margins.  Engraved  in  1843.  Small  hole  in  upper  margin. 


CALDWALL,  JAMES 

Born  at  London  in  1739;  died  in  1780.  He  was  a pupil  of  Sherwin.  His  work  is 
remarkable  for  its  brilliant  technique. 

57 —  Mrs.  Siddons  and  Her  Son  in  the  Tragedy  of  Isabella  (After  William 

Hamilton) 

Open  letter  proof.  Fine.  Engraved  in  1785. 

58 —  Mrs.  Siddons  in  the  Tragedy  of  the  Grecian  Daughter  (After  William 

Hamilton) 

Engraved  in  1789. 


11 


CALLOT,  JACQUES 

Born  at  Nancy  in  1592;  died  there  in  1635.  A pupil  of  Canta-Gallina,  Thomassin; 
and  Parigi. 

“ When  he  chose  to  use  the  point  like  a true  etcher  he  could  do  so  very  effectively. 
. . . He  drew  buildings  with  a sense  of  the  picturesque  in  architecture  very  rare  ic 

his  own  age.” — P.  G.  Hamerton. 

59 — Saint  Nicholas  Preaching  in  the  Woods 

Good  impression,  in  excellent  condition.  No  margins. 

60 — Boar  Hunting 

The  Return  from  Hunting 

Two  pieces.  One  lot. 

CAMPANELLA,  ANGELO 

Born  at  Rome  in  1748;  died  in  1815.  A pupil  of  Volpato. 

61 — Vanity  and  Modesty  (After  Leonardo  da  Vinci) 

Fine,  original  impression.  With  full  margins. 


CARS,  LAURENT 

Born  at  Lyons  in  1702;  died  at  Paris  in  1771.  Son  and  pupil  of  Jean  Francois  Cars. 

62 — Escorte  d’Equipages  (After  Watteau) 

also 

The  Widow 

Engraved  by  Lepicie,  after  Coypel. 

Madonna  and  Child,  with  St.  John  (After  Rubens) 

Three  pieces.  One  lot. 

CASTIGLIONE,  GIOVANNI  BENEDETTO 

Born  at  Genoa  in  1616;  died  at  Mantua  in  1670.  When  Van  Dyck  was  in  Genoa 
Castiglione  studied  under  that  master.  Later,  in  the  course  of  his  travels,  he  visited 
Rome,  Naples,  Florence,  Parma,  Venice,  and  Mantua,  and  in  each  city  studied  the 
works  of  the  great  painters. 

“ Les  estampes  de  Castiglione  ont  ete  toujours  tres  recherchees.  On  y admire 


12 


l’effet  brillant  du  clair-obscur  qui  rappelle  les  beaux  ouvrages  de  Rembrand;  elles  sont 
gravees  d’une  pointe  facile,  pittoresque  et  conduite  avec  gout  et  beaucoup  d’esprit.” — 
Bartsch,  vol.  xxi.,  p.  9. 

63 — Les  Petites  Tetes  d’Hommes  Coeffees  a TOrientale 

The  set  of  sixteen  plates.  Bartsch,  Nos.  32-47.  Good  impressions,  in  excellent 
condition. 

64 — Tete  d’Homme  Coeffee  a l’Orientale 

Bartsch,  No.  48.  One  of  a set  of  six  prints  of  similar  subjects.  Has  been  mended 
in  the  upper  right  hand  corner. 

Also 

Man  with  a Fur  Cap 

Trimmed  at  top.  Two  pieces. 


CESIO,  CARLO 

Born  at  Androdoco  in  1625;  died  in  1686.  His  plates  are  etched,  and  finished  off 
with  the  graver  in  a free  and  masterly  style. 

65 — Lanfranco’s  Paintings  on  the  Cupola  of  the  Church  of  S.  Andrea 

della  Valle,  in  Rome 

Eight  plates.  Issued  in  1691.  Paper  wrappers.  One  lot. 


CHALON,  CHRISTINA,  AND  HER  TWO  BROTHERS 

Christina  Chalon  was  born  in  Amsterdam  in  1748.  Died  in  Leyden  in  1808.  She 
was  a pupil,  in  painting,  of  Sara  Troost  and  Ploos  van  Amstel,  but  devoted  herself  to 
etching  rather  than  to  painting. 

66 — The  Complete  Works  of  the  Three  Chalons 

One  hundred  and  forty-seven  pieces.  Mounted  on  cardboard  and  arranged  in  three 
portfolios.  Half  morocco. 

This  collection  was  made  by  the  artists  themselves,  and  may  be  considered  as  being 
unique.  Many  of  these  etchings  are  from  the  collection  of  Sir  Charles  Price,  the 
London  banker.  A most  interesting  lot.  To  be  sold  as  a collection. 


13 


CLAUDE  GELLEE  DE  LORRAINE 


Born  at  Chamagne,  near  Charmes,  in  1600;  died  at  Rome  in  1682.  When  young  he 
removed  to  Rome,  but  in  the  spring  of  1625  he  left  that  city  and  started  upon  his 
travels,  not  returning  again  to  Rome  until  1627.  For  the  next  ten  years  he  seems  to 
have  devoted  himself  to  art,  and  we  hear  little  of  him  until  he  attracted  the  attention 
of  Cardinal  Bentivoglio,  who  introduced  him  to  Pope  Urban  VIII.  From  this  time 
until  his  death  his  position  was  assured  and  his  life  uneventful. 

“ His  superiority  as  an  etcher  is  chiefly  a technical  superiority;  he  could  lay  a shade 
more  delicately,  and  with  more  perfect  gradation,  than  any  other  etcher  of  landscape; 
he  could  reach  rare  effects  of  transparency,  and  there  is  ineffable  tenderness  in  his 
handling.” — P.  G.  Hamerton. 


67 — La  Fuite  en  Egypte 

Robert-Dumesnil,  No.  1.  Lower  margin  trimmed,  otherwise  in  excellent  condition. 


68 — L’ Apparition 

Robert-Dumesnil,  No.  2.  Lower  margin  trimmed,  otherwise  in  excellent  condition. 


69 — LaTempete 

0 

Robert-Dumesnil,  No.  5.  Lower  margin  trimmed. 

70 — Le  Naufrage 

Robert-Dumesnil,  No.  7. 

71 — Scfene  de  Brigands 

Robert-Dumesnil,  No.  12.  Lower  left  hand  corner  slightly  torn. 

“ The  point  of  interest  here  is  the  tender  quality  of  work  in  the  distance  and  sky.” 
— P.  G.  Hamerton. 


72— 


Le  Pont  de  Bois 


Robert-Dumesnil,  No.  14.  Lower  margin  trimmed.  In  excellent  condition  other- 
wise. 


73— 


74— 


Le  Patre  et  la  Berg&re 

Robert-Dumesnil,  No.  25.  In  excellent  condition. 

Le  Patre  et  la  Bergere 

Also  in  excellent  condition 


75 — Les  Quatre  Chfevres 

Robert-Dumesnil,  No.  27.  Lower  margin  trimmed.  In  excellent  condition  otherwise. 


14 


76- 


Amand-Durand  Reproduction  of  Le  Bouvier  (Claude) 

Robert-Dumesnil,  No.  8. 

Also 

Le  Christ  de  Caprarole  (Caracci) 

Bartsch,  No.  4. 

L’Homme  Monte  sur  l’Ane  (Berghem) 

Bartsch,  No.  5.  Three  pieces.  One  lot. 

COLLYER,  JOSEPH 

Born  in  London  1748;  died  in  1827.  He  was  elected  an  Associate  Member  of  the 
Royal  Academy  in  1786,  and  afterwards  became  portrait  engraver  to  Queen  Charlotte. 

77 — Dutch  Pastime  (After  David  Teniers) 

Open  letter  proof.  Very  fine  impression,  in  perfect  condition. 

CROUTELLE,  LOUIS 

Born  in  Paris  in  1765.  A pupil  of  Delaunay.  Worked  at  Paris  at  the  commence- 
ment of  the  nineteenth  century,  and  died  there  in  1829. 

78 — The  Six  Hours  of  the  Day  and  the  Six  Hours  of  the  Night 

“ Raphael’s  Hours.”  Engraved  by  Croutelle  in  conjunction  with  Bourgois,  La- 
vallee,  Mariage,  and  others. 

Also 

Duplicate  of  the  Fifth  Hour  of  the  Day 

also 

A Portrait  of  Raphael  as  a Young  Man  (Mezzotint) 

Fourteen  pieces  in  all.  One  lot. 

DAULLE,  JEAN 

Born  at  Abbeville  in  1703;  died  in  Paris  in  1763. 

79 —  Hyacinthe  Rigaud  Painting  the  Portrait  of  his  Wife  (After  Rigaud) 

Engraved  by  Daulle,  in  1742,  for  admission  into  the  Academy.  One  of  his  finest  plates. 

80 — Portrait  of  Pierre  Mariette  (The  famous  collector  of  prints) 

First  state  (of  four).  A superb  original  impression,  before  all  letters.  In  perfect 
condition.  Rare  of  such  quality. 


15 


DELAUNAY,  NICOLAS 

Born  at  Paris  in  1739;  died  there  in  1792.  A pupil  of  Lempereur. 

81 — Marche  de  Sil&ne  (After  Rubens) 

Fine  original  impression. 

82 — Le  Bonheur  du  Menage  (After  Le  Prince) 

La  Bonne  Mere  (After  Fragonard) 

Two  pieces.  “ Le  Bonheur  du  Menage  ” an  especially  good  impression. 


DENON,  BARON  DOMINIQUE  VIVANT 

Born  at  Chalons  on  the  Saone  in  1747.  Died  in  Paris  in  1825.  He  was  Director- 
General  of  the  Museums  under  Napoleon  I. 

83 — The  Bull  (After  Paul  Potter) 

84 — The  Nativity 

A very  fine  and  rich  effect  has  been  obtained  by  the  judicious  addition  of  roulette 
work  in  the  shadows. 


DESNOYERS,  LOUIS  AUGUSTIN  BOUCHER 

Born  at  Paris  in  1779;  died  there  in  1857.  A pupil  of  Alexandre  Tardieu. 

“ Desnoyers  is  an  engraver  of  the  first  order;  no  other  has  rendered  the  works  of 
Raphael  so  well  as  he.” — “ The  Golden  Age  of  Engraving.” 

85 — La  Belle  Jardiniere  de  Florence  (After  Raphael) 

Passavant,  III.,  p.  176.  Open  letter  proof.  Beautiful  impression,  in  perfect  con- 
dition. With  full  margins.  Rare. 

86 — La  Vierge  aux  Rochers  (After  Leonardo  da  Vinci) 

A good  impression.  With  margin.  One  of  Desnoyers’  most  beautiful  engravings. 


DICKINSON,  WILLIAM 

Born  at  London  in  1746;  died  in  Paris  in  1823. 

87 — Mrs.  Yates  in  the  Character  of  Medea  (After  Pine) 

Engraved  in  mezzotint  in  1771.  A fine  impression.  Rebacked,  and  with  margin 
extended  by  inlaying.  The  engraved  surface  in  excellent  condition.  Rare. 

16 


DIETRICH,  CHRISTIAN  WILHELM  ERNST 


Born  at  Weimar  in  1712;  died  at  Dresden  in  1774.  In  1729  he  was  appointed  court 
painter  by  Augustus  the  Strong,  Elector  of  Saxony.  In  1743  the  Elector  sent  him  to 
Italy,  where,  in  Venice  and  Rome,  he  studied  the  Dutch  and  Flemish  masters,  above 
all  Rembrandt,  Ostade,  and  Poelenburg. 

“ Dietrich  was  exceedingly  clever,  manually,  and  very  various  in  manner,  but  he 
was  remarkable  only  as  an  unusually  apt  imitator  of  other  men’s  work.  His  talent, 
in  this  respect,  was  nearly  equal  to  the  wonderful  gift  of  our  contemporary  Flameng.” 
— P.  G.  Hamerton. 

88 —  Oeuvre  de  C.  G.  E.  Dietrich,  Peintre  de  S.  A.  Electorale  de  Saxe,  etc. 

82  Planches  imprimees  sur  35  feuilles.  A Nuremburg,  chez.  J.  J. 
Favenholz 

The  complete  set  of  82  etchings.  The  sheets  have  been  divided  and  each  etching 
mounted  separately.  All  are  in  excellent  condition. 

89 — The  Showman 

Has  been  trimmed  close  to  the  etched  surface  and  pasted  down. 

90 — The  Adoration  of  the  Shepherds 

Has  been  pasted  down. 


DOO,  GEORGE  T. 

91 — Portrait  of  Cuvier  (After  Pickersgill) 

Engraved  in  1841.  Good  original  impression.  With  full  margins. 

92 — “ Ecce  Homo  ” (After  Correggio) 

Open  letter  proof.  With  full  margins.  Fine. 


DREVET,  PIERRE 

Born  at  Lyons  in  1664;  died  at  Paris  in  1739.  A pupil  of  Gerard  Audran. 

93 — Louis  XV.  Led  to  the  Temple  of  Fame  by  Minerva  (After  Coypel) 

A good  impression,  but  slightly  trimmed  at  the  bottom  margin. 

2 17 


DREVET,  PIERRE  IMBERT 


Born  at  Paris,  June  22,  1697.  Son  and  pupil  of  Pierre  Drevet.  Distinguished  him- 
self as  an  engraver  at  an  early  age.  In  1724  he  became  a member  of  the  Academy, 
and  in  1729  was  appointed  Engraver  to  the  King.  Died  at  Paris,  April  27,  1739. 

“ As  Edelinck  passed  from  the  scene,  the  family  of  Drevet  appeared,  especially  the 
son,  Pierre  Imbert  Drevet,  who  developed  a rare  excellence,  improving  even  upon  the 
technics  of  his  predecessor  and  gilding  his  refined  gold.  He  manifested  a singular 
skill  in  rendering  different  substances  by  the  effect  of  light,  and  at  the  same  time  gave 
to  flesh  a softness  and  transparency  which  remain  unsurpassed.” — “ The  Best  Por- 
traits in  Engraving.” 

94 — Portrait  of  Robert  de  Cotte  (After  Rigaud) 

Second  state,  with  the  word  “ architecte.” 

95 —  Portrait  of  Adrienne  Le  Couvreur  as  Cornelia  (After  Coypel) 

Second  state,  with  the  correction  to  “ module”  One  of  the  finest  of  Drevet’s  en- 
gravings. Mounted. 


DUPIN  (FILS) 

96—  Venus  et  Paris  sur  le  Mont  Ida  (After  Dietrich) 


DURAND,  ASHER  B. 

Painter  and  engraver.  Born  at  South  Orange,  New  Jersey,  in  1796.  One  of  the 
best  line  engravers  America  has  produced. 

97 — Portrait  of  John  Quincy  Adams  (After  Sully) 

Engraved  in  1826.  Fine  original  impression,  in  perfect  condition.  Full  margins. 

* 98 — Musidora 

Engraved  by  Durand  after  his  own  painting.  This  and  the  “ Ariadne  ” are  ac- 
counted Durand’s  finest  plates,  and  are  among  the  best  engravings  ever  produced  in 
America. 

99 — Ariadne  (After  Vanderlyn) 

Engraved  in  1835.  Fine  original  impression,  in  perfect  condition.  Full  margins. 
Rare  of  such  quality. 


18 


DURER,  ALBERT 


Born  at  Nuremberg  May  20,  1471;  died  there  April  18,  1528. 

“ Diirer  found  the  art  of  engraving  in  its  infancy,  and  carried  the  technical  fineness 
of  it  to  a perfection  that  has  never  been  surpassed.” — “ The  Golden  Age  of  Engraving.” 

100 — The  Sudarium  Displayed  by  One  Angel 

Bartsch,  No.  26.  Heller,  No.  466.  Retberg,  No.  223.  Etched  upon  an  iron  plate. 
A good  impression  before  the  rust  marks  in  the  upper  portion  of  the  plate. 

101 — The  Virgin  Nursing  the  Infant  Jesus 

Bartsch,  No.  36.  Heller,  No.  576.  Retberg,  No.  232.  A beautiful  and  brilliant 
impression,  in  perfect  condition,  but  slightly  trimmed. 

102 — The  Virgin  and  Child  with  the  Monkey 

Bartsch,  No.  42.  Heller,  No.  628.  Retberg,  No.  88.  Late  impression. 

103 — Saint  Eustace  (or  Saint  Hubert) 

Bartsch,  No.  57.  Heller,  No.  727.  Retberg,  No.  127.  An  original  impression. 
Has  been  mended  at  top  and  side  and  pasted  down  on  a sheet  of  stout  and  more 
modern  paper.  This  is  the  largest  of  Durer’s  engraved  plates,  and  is,  also,  one  of  the 
finest  and  rarest. 

104 — Saint  Jerome  in  His  Cell 

Bartsch,  No.  60.  Heller,  No.  756.  Retberg,  No.  208.  A very  fine  original  im- 
pression, in  perfect  condition.  With  margin.  One  of  the  most  esteemed  of  Durer’s 
engravings.  An  impression  of  this  quality  and  in  this  condition  is  exceedingly  rare. 

105 — The  Carrying  Off  of  Amymone 

Bartsch,  No.  71.  Heller,  No.  801.  Retberg,  No.  125.  A most  brilliant  original 
impression  in  perfect  condition.  With  large  margins.  From  the  Mary  J.  Morgan 
Collection. 

106 — The  Effects  of  Jealousy  (or  Hercules) 

Bartsch,  No.  73.  Heller,  No.  815.  Retberg,  No.  126.  An  excellent  impression,  in 
perfect  condition.  In  the  foreground  to  the  right  an  interesting  effect  is  produced  by 
some  of  the  lines  printing  double,  owing,  probably,  to  the  shaking  of  the  roller  as  the 
print  passed  beneath  it  in  printing. 

107 — Nemesis  (or  The  Great  Fortune) 

Bartsch,  No.  77.  Heller,  No.  839.  Retberg,  No.  124.  A very  clear  impression, 
the  upper  portion  specially  so.  Has  been  mended  along  the  upper  right  hand  side. 
The  village  in  the  lower  portion  of  the  print  is  thought  by  some  writers  to  be  Eytas, 
in  Upper  Hungary,  from  whence  the  Diirer  family  originally  came. 

iQ 


io8 — 


The  Lady  on  Horseback  and  Her  Squire 

Bartsch,  No.  82.  Heller,  No.  991.  Retberg,  No.  20.  A most  brilliant  and  beautiful 
impression,  in  perfect  condition.  From  the  Mary  J.  Morgan  Collection. 


109 — The  Little  Horse 

Bartsch,  No.  96.  Heller,  No.  1,000.  Retberg,  No.  85.  Fine  original  impression, 
in  perfect  condition.  With  margin. 


no — The  Knight,  Death,  and  the  Devil 

Bartsch,  No.  98.  Heller,  No.  1,013.  Retberg,  No.  203.  A good  and  unusually 
harmonious  impression.  Slightly  repaired  in  the  two  lower  corners. 

Of  this  print  it  has  been  said  that,  together  with  Durer’s  two  other  world-famous 
masterpieces — “Saint  Jerome  in  his  Cell”  and  “Melancholy” — it  contains  “the 
philosophy  of  a lifetime,  and  is  more  eloquent  than  a thousand  volumes  of  printed 
knowledge.”  It  is  one  of  the  rarest  of  Durer’s  engravings,  and  is  exceedingly  hard 
to  find  in  good  impression  and  condition. 


hi — La  Madonna  della  Bethlehem 

Not  described  by  Bartsch.  From  the  Mary  J.  Morgan  Collection. 


1 12 — The  Smaller  Passion — On  Wood 

Bartsch,  Nos.  16-52.  Heller,  Nos.  1,142,  etc.  Retberg,  Nos.  129-165.  A complete 
set,  including  the  title  page,  “ The  Man  of  Sorrows,  Seated,”  which  is  so  frequently 
missing  and  which  is  so  rare.  Thirty-seven  pieces.  One  lot. 


1 13 — Christ  Crucified 

Bartsch,  No.  11.  Heller,  No.  1129.  Retberg,  No.  181.  An  engraved  copy  of 
Durer’s  woodcut  of  the  same  subject.  Two  impressions:  one  on  yellowish  paper  and 
one  on  a good,  old,  tinted  paper.  One  lot. 

1 14 — Portrait  of  Albert  Diirer 

Woodcut  dated  1527.  Border  line  worn  in  places.  Worm  holes  in  the  block  show- 
ing in  face  and  hair. 

1 15 — Virgin  on  a Crescent,  with  Crown  of  Stars  and  a Sceptre 

Counterfeit  of  Durer’s  engraving.  Bartsch,  No.  32.  Heller,  No.  526.  Retberg, 
No.  221. 

• Also 

Madonna  and  Child  Seated  by  a Fir-tree 

Two  pieces.  One  lot. 


20 


n6 — Eleven  Photographs  by  Braun  & Co.  of  engravings  by  Albert  Diirer, 
and  one  of  a drawing  of  an  old,  bearded  man  with  his  hand  to  his 
head. 

The  engravings  reproduced  are: 

Adam  and  Eve 

Bartsch,  No.  i. 

The  Nativity 

Bartsch,  No.  2. 

The  Virgin  Seated,  Caressing  the  Infant  Jesus 

Bartsch,  No.  35. 

The  Virgin,  with  the  Child  in  Swaddling  Clothes 

Bartsch,  No.  38. 

The  Virgin  and  Child,  with  the  Monkey 

Bartsch,  No.  42. 

Saint  Hubert 

Bartsch,  No.  5 7. 

Melancholia 

Bartsch,  No.  74. 

The  Little  Courier 

Bartsch,  No.  80. 

The  Hostess  and  the  Cook 

Bartsch,  No.  84. 

Three  Peasants  in  Conversation 

Bartsch,  No.  86. 

The  Knight,  Death,  and  the  J)evil 

Bartsch,  No.  98.  Twelve  photographs  in  all.  One  lot. 

1 17 — Six  Photographs  of  engravings,  as  follows: 

Adam  and  Eve 

Bartsch,  No.  1. 

The  Nativity 

Bartsch,  No.  2. 

The  Sudarium  Displayed  by  Two  Angels 

Bartsch,  No.  25. 


21 


Saint  Anthony 

Bartsch,  No.  58. 


Melancholia 

Bartsch,  No.  74. 

Saint  Jerome  (Dry  point) 

Bartsch,  No.  59.  Six  pieces.  One  lot. 

1 18 —  Seven  Amand-Durand  Reproductions  of  Engravings  by  Durer,  as 

follows : 

Saint  Jerome  in  His  Cell 
Virgin  Seated  on  a Bank  of  Turf 
Saint  Jerome  (Dry  point) 

Saint  Jerome  in  Penitence 
Virgin  with  the  Butterfly 
The  Great  Fortune 
Jealousy 

Seven  pieces.  One  lot. 

DUSART,  CORNELIS 

Born  at  Haarlem  in  16.60;  died  there  in  1704.  A pupil  of  Adriaan  van  Ostade,  whose 
style  he  imitated  with  considerable  success.  His  etchings  number  sixteen  plates  and 
are  from  his  own  designs. 

1 19 — Le  Couple  Ivre 

Bartsch,  No.  7.  Has  been  pasted  down. 


EARLOM,  RICHARD 

Designer,  etcher,  and  the  greatest  engraver  in  mezzotint.  Born  in  Somersetshire 
in  1728;  died  in  1822. 

120 — The  Fig  (After  Rubens) 

Good  original  impression.  Mounted. 


22 


EDELINCK,  GERARD 

Born  at  Antwerp  in  1640.  Died  at  Paris  in  1707.  Pupil  of  Cornelis  Galle  and, 
later,  of  Frangois  de  Poilly. 

“ Longhi  says  that  he  is  the  engraver  whose  work,  not  only  according  to  his  own 
judgment,  but  that  of  the  most  intelligent,  deserves  the  first  place  among  exemplars, 
and  he  attributes  to  him  all  perfections  in  the  highest  degree,  design,  chiar-oscuro, 
aerial  perspective,  local  tints,  softness,  lightness,  variety — in  short,  everything  which 
can  enter  into  the  most  exact  representation  of  the  true  and  beautiful  without  the  aid 
of  color.” — “ The  Best  Portraits  in  Engraving.” 

12 1 —  Portrait  of  Madame  de  la  Valliere  as  Magdalen  Renouncing  the 

Vanities  of  the  World  (After  Le  Brim) 

Robert-Dumesnil,  No.  32.  Fourth  state  (of  five).  Good  original  impression,  in 
fair  condition. 

122 — The  Fight  for  the  Standard  (After  Leonardo  da  Vinci) 
Robert-Dumesnil,  No.  44.  Third  state.  The  plate  retouched,  and  with  the  three 

dots  on  the  sword  of  the  second  horseman.  Edelinck  engraved  this  plate  after  a copy 
of  the  celebrated  cartoon  drawn  in  red  chalk  by  Rubens. 

“ His  print  of  ‘ The  Fight  for  the  Standard,’  after  the  celebrated  cartoon  of  Leo- 
nardo da  Vinci,  may  be  taken  as  a model  of  bold  and  vigorous  work.” — “ The  Golden 
Age  of  Engraving.” 

123 — Charles,  Due  de  Berry  (After  De  Troye) 

Robert-Dumesnil,  No.  147.  In  excellent  condition. 

124 — Louis  Due  de  Burgogne  (After  De  Troye) 

Robert-Dumesnil,  No.  158.  In  excellent  condition. 

125 — Philippe*  de  Champagne  (After  Philippe  de  Champagne) 
Robert-Dumesnil,  No.  164.  Second  state.  With  the  slip  of  the  graver  near  the 

trunk  of  the  tree,  back  of  the  person.  This  is  Edelinck’s  masterpiece,  and  is  one  of 
the  four  finest  portrait  engravings  ever  executed.  In  excellent  condition. 

126 — Edouard  Colbert,  Marquis  de  Villacerf  (After  Mignard) 

Robert-Dumesnil,  No.  336.  In  excellent  condition. 

127 — Madame  Helyot,  “ La  Belle  Religieuse  ” (After  J.  Galliot) 
Robert-Dumesnil,  No.  223.  Fourth  state.  One  of  Edelinck’s  best  and  most  at- 
tractive portraits.  In  excellent  condition. 

128 — Charles  Mouton,  the  Lute  Player  (After  De  Troye) 
Robert-Dumesnil,  No.  281.  Fifth  state.  In  excellent  condition. 

Pierre  de  Montarsis  (After  Coypel) 

Robert-Dumesnil,  No.  277.  In  excellent  condition. 


23 


EDELINCK,  NICOLAS 

Born  at  Paris  about  1680;  died  there  in  1768.  Son  and  pupil  of  Gerard  Edelinck. 

129 — Portrait  of  Gerard  Edelinck  (After  Tortebat) 

The  best  portrait  of  this  famous  engraver.  In  excellent  condition. 


FAED,  JAMES 

130 — Shakespeare  and  His  Friends  (After  John  Faed) 

Fine  original  impression,  in  excellent  condition.  Very  interesting  print.  With 
fac-simile  autographs  of  the  persons  depicted. 

Also 

The  First  Reformers  Presenting  Their  Famous  Protest  at  the  Diet  of 
Spires,  on  the  19th  of  April,  1529 

Engraved  by  William  Walker,  after  the  painting  by  George  Cattermole.  Good 
original  impression.  With  margin.  Two  pieces. 


FELSING,  JACOB 

Born  at  Darmstadt  in  1802.  A pupil  of  Longhi. 

131 — Saint  Catherine's  Body  Borne  by  Angels  (After  H.  Mucke) 

Artist’s  proof.  With  only  the  names  of  the  artists  lightly  traced  with  the  needle. 
Fine  and  rare. 

132 — Christ  Bearing  the  Cross  (After  Daniele  Crespi) 

Open  letter  proof.  Full  margins.  Fine.  And  fifteen  other  subjects.  Various. 
One  lot.  By  various  engravers. 


FOLO,  GIOVANNI 

Born  at  Bassano  in  1764;  died  at  Rome  in  1836.  A pupil  of  Volpato,  and  influenced 
by  Raphael  Morghen. 

133 — Iris 

After  Guido  Head.  Fine  impression.  *With  full  margins. 


24 


134- 


Spring 

Summer 


After  Stefano  Tofanelli.  Engraved  in  the  stipple  manner.  “ Summer  ” is  a proof 
before  the  title  and  before  the  dedication  line  below.  Both  are  fine  impressions.- 
With  full  margins.  Two  pieces. 

135—  Diana 

Apollo 

After  Stefano  Tofanelli.  Engraved  in  the  stipple  manner.  Fine  proofs  before  the 
title  and  before  the  dedication  line  below.  Full  margins.  Two  pieces. 

136 — The  Transfiguration  (After  Raphael) 

A very  fine  impression  before  all  letters,  and  with  full  margins. 


FRANCOIS,  ALPHONSE 

Born  at  Paris  in  1811.  A pupil  of  Henriquel-Dupont. 

137 — Mother  Holding  Up  a Book  to  Her  Child  (After  Paul  Delaroche) 

Beautiful  proof  before  all  letters,  on  India  paper.  Fine  and  rare. 


GARNIER,  FRANCOIS 

Born  at  Brest.  A pupil  of  Bervic. 

138 — La  Vierge  aux  Balances  (After  Leonardo  da  Vinci) 

Fine  original  impression.  With  margin. 

GAULTIER,  LEONARD 

Born  at  Mentz  in  1552.  Worked  at  Paris,  and  died  there  in  1641. 

139 — The  Last  Judgment  (After  Michel-Angelo) 

140 — The  Last  Judgment  (After  Michel-Angelo) 

141 — Twelve  Biblical  Subjects 


One  lot. 

25 


GOLTZIUS,  HENDRIK 

Born  at  Miilbrecht  in  1558;  died  at  Haarlem  in  1617.  A pupil  of  Theodore  Coernhert. 

“Contemporary  with  Caracci  was  Hendrik  Goltzius  at  Haarlem,  excellent  as  painter, 
but,  like  the  Italian,  pre-eminent  as  engraver.  His  prints  show  mastery  of  the  art, 
making  something  like  an  epoch  in  its  history.” — “ The  Best  Portraits  in  Engraving.” 

142 — The  Six  Masterpieces  of  Goltzius 

Bartsch,  Nos.  15-20.  All  are  after  his  own  designs.  A beautiful  set.  Very  fine 
impressions,  in  perfect  condition.  A set  of  such  excellence  and  uniformity  of  impres- 
sion is  very  rare.  The  engravings  are: 

The  Annunciation  (In  the  manner  of  Raphael) 

The  Visitation  (In  the  manner  of  Parmigiano) 

The  Adoration  of  the  Shepherds  (In  the  manner  of  Bassano) 

The  Circumcision  (In  the  manner  of  Albert  Durer) 

The  Adoration  of  the  Magi  (In  the  manner  of  Lucas  van  Leyden) 

The  Holy  Family  at  the  Foot  of  a Tree  (In  the  manner  of  Baroccio) 

Six  pieces.  To  be  sold  as  a set. 

143 — The  Principal  Greek  Gods 

Bartsch,  Nos.  249-256.  A set  of  eight  prints,  after  Caravaggio.  The  engravings 
are  all  fine  impressions,  in  perfect  condition.  The  titles  are  as  follows: 

Jupiter 

Neptune 

Pluto 

Vulcan 

Apollo 

Mercury 

Bacchus 

Saturn 

Eight  pieces.  To  be  sold  as  a set. 

26 


144 — The  Visitation 

Bartsch,  No.  16.  In  the  manner  of  Parmigiano.  A fine  impression.  Has  been 
mounted. 

Also 

Twelve  Roman  Emperors 

On  three  sheets.  Fine  impressions,  in  excellent  condition.  Four  pieces.  To  be 
sold  as  one  lot, 


GOUDT,  HENDRIK  VAN,  COUNT  PALATINE 

Born  at  Utrecht  in  1585;  died  about  1650.  His  plates  are  engraved  in  a style  pecu- 
liar to  himself.  They  are  wrought  entirely  with  the  graver,  and  the  effect  is  produced, 
not  by  deepening  the  strokes,  but  by  delicately  crossing  and  recrossing  the  lines  many 
times  in  the  shadows.  Though  his  plates  are  finished  with  remarkable  precision,  they 
show  a surprisingly  free  and  dexterous  handling  of  the  graver. 

145 — The  Flight  into  Egypt  (After  Abraham  Elsheimer) 

Very  fine  original  impression.  From  the  collection  of  the  famous  connoisseur, 
P.  Mariette,  who  has  signed  it  with  his  name,  and  with  the  date  1664,  on  the  front 
and  on  the  back  also.  Very  rare  of  such  quality. 


GRAVES,  ROBERT 

Born  in  London  in  1798;  died  in  1873.  In  1836  he  was  elected  an  Associate  Member 
of  the  Royal  Academy.  His  plates  are  characterized  by  refinement  and  delicacy. 

146 — Mrs.  Siddons,  Seated  (After  Gainsborough) 

Fine  proof  before  all  letters.  India  paper.  Full  margins. 

147 — William  Esdaile  (After  Sharpies) 

Fine  proof  on  India  paper. 

148 — J.  M.  W.  Turner 

Very  fine  proof  before  all  letters,  before  the  plate  was  reduced  in  size.  India  paper. 
Large  margins. 

Also 

Portraits  of  Giotto;  Georgiana,  Duchess  of  Devonshire,  and  Others 

By  various  engravers.  Six  pieces.  One  lot. 

27 


GREEN,  VALENTINE 

Born  in  Warwickshire  in  1739;  died  at  London  in  1813.  One  of  the  finest  mezzo- 
tint engravers  of  the  English  School. 

149 — General  George  Washington 

From  the  painting  by  “J.  Trumbull,  Esqr.,  of  Connecticut,  1780.”  Published  January 
15,  1781.  Open  letter  proof.  With  names  of  painter  and  engraver,  title,  and  publica- 
tion line  traced  with  the  needle.  Has  been  rebacked.  A very  rare  and  interesting 
portrait. 


GRIMM,  LUDWIG  EMIL 

Born  at  Hannau  in  1792.  A pupil  of  Carl  Hess. 

150—  Thirty-seven  Etchings  of  Various  Subjects 

One  lot. 

GUNST,  PIETER  VAN 

Born  at  Amsterdam  in  1667;  died  there  in  1730. 

15 1 — Portrait  of  Arthur  Goodwin 
Portrait  of  Jane,  Daughter  of  Arthur  Goodwin 
Portraits  of  Philadelphia  and  Elizabeth  Wharton 

Portrait  of  Margaret  Smith 

All  after  the  paintings  of  Sir  Anthony  Van  Dyck.  All  in  good  condition.  With 
margins.  Four  pieces. 

152 — Portrait  of  William  Villiers,  Viscount  Grandison 

Portrait  of  Patricius,  Lord  Viscount  Chaworts 

Portrait  of  Lucy,  Countess  of  Carlisle 

Portrait  of  Anne,  Countess  of  Chesterfield 

All  after  the  paintings  of  Sir  Anthony  Van  Dyck.  All  in  good  condition.  With 
margins.  Four  pieces. 

HABELMANN,  P. 

The  Wreck  of  the  Fishing-boat 

28 


i53— 


156 — 


154“ 


155- 


HALL,  H.  B.  & G.  R. 

George  Washington  (After  Gilbert  Stuart) 

Impression  on  India  paper.  Full  margins. 

Henry  Ward  Beecher  (After  Williamson) 

Mount  Vernon  in  the  Olden  Time 


Marriage  of  Pocahontas 

And  Six  Other  Pieces  by  Various  Engravers. 


HALL,  JOHN 


Born  at  Wivenhoe,  near  Colchester,  in  1739;  died  at  London  in  1797.  Upon  the 
death  of  Woollett  he  was  appointed  Historical  Engraver  to  King  George  III. 

157 —  Venus  Relating  to  Adonis  the  Story  of  Hippomenes  and  Atalanta 

(After  Benjamin  West) 

Fine  original  impression.  Full  margins. 

158 — Timon  of  Athens  (After  Dance) 

Very  fine  proof,  with  the  names  of  the  artists,  the  title,  and  the  publication  line 
lightly  traced  with  the  needle.  Beautiful  impression,  in  perfect  condition. 


HENRIQUEL-DUPONT,  LOUIS  PIERRE 

Born  in  Paris  in  1797.  One  of  the  most  celebrated  engravers  of  the  nineteenth  cen- 
tury. 

159 — The  Mystic  Marriage  of  Saint  Catherine  (After  Correggio) 

Signed  artist’s  proof  before  all  letters.  A beautiful  impression,  in  perfect  condition, 
and  with  full  margins.  Engraved  in  1867.  The  most  beautiful  of  Henriquel-Dupont’s 
engravings  after  the  Old  Masters. 

160 —  L’Hemicycle  du  Palais  des  Beaux  Arts  (After  Paul  Delaroche) 

Three  pieces,  with  key.  Fine  impressions.  Margins  at  sides  slightly  soiled.  One 
lot. 


HESS,  CARL  ERNST 

Born  at  Darmstadt  in  1755;  died  at  Munich  in  1828. 


161 — “ Suffer  little  children  to  come  unto  me  ” (After  Rembrandt) 


Engraved  in  1812.  Original  impression.  Full  margins. 

29 


HOLBEIN,  TH.  DE 


162 — Seventeen  Landscapes 

Etched  from  his  own  designs  from  nature.  One  lot. 


HOLLAR,  WENCESLAUS 

Born  at  Prague  in  1607;  died  at  London  in  1677.  A pupil  of  Merian. 

163 — Five  Plates  of  Ladies  in  Various  Costumes 

also 

Five  Prints  by  Various  Engravers 

Ten  in  all.  One  lot. 

164 — A View  of  the  City  of  Gratz 

A good  impression,  but  folded  in  three  places. 

Also 

Landscape  after  Jacques  van  Artois 

Two  pieces.  One  lot. 


HOLLOWAY,  THOMAS 


Born  in  London  in  1748;  died  in  1827.  His  chief  work,  and  the  one  by  which  he 
will  be  remembered,  is  the  set  of  “ Raphael’s  Cartoons.” 


165 — “ Raphael’s  Cartoons  ” 

At  Hampton  Court.  Set  of  seven  plates.  All  are  good  impressions.  With  margins 

166 — The  Death  of  Ananias 

Elymas  the  Sorcerer  Struck  with  Blindness 

Two  beautiful  impressions  from  the  etched  plates  before  the  burin  work  was  added. 

Also 

The  Miraculous  Draught  of  Fishes 

Engraved  by  Burnet.  Three  pieces.  One  lot. 


30 


167 — 


JACOTT 

Saint  Peter  (After  Perugino) 

Saint  Paul  (After  Perugino) 

Lithographs.  Good  impressions,  on  India  paper.  Two  pieces. 


JOHANNOT,  CHARLES 

Born  at  Offenbach  in  1788;  died  in  Paris  in  1825. 

168 — Le  Trompette  (After  Horace  Vernet) 

Original  impression,  in  good  condition. 


KELLER,  JOSEPH  VON 

Born  at  Linz  on  the  Rhine  in  1811.  In  1838  he  removed  to  Paris  and  studied  en- 
graving under  Desnoyers  and  Forster.  From  1846  to  the  time  of  his  death  he  was 
a Professor  at  the  Diisseldorf  Academy. 

169 — Les  Saintes  Femmes  au  Tombeau  de  Christ  (After  Ary  Scheffer) 

Engraved  in  1855.  Good  original  impression.  With  margins. 


KILIAN,  WOLFGANG 

Born  at  Augsburg  in  1381;  died  in  1662.  Brother  of  Lukas  Kilian,  whose  style  of 
engraving  he  followed. 

170 — The  Figure  of  the  Four  Monarchies 

Engraved  in  1623.  An  original  impression.  Slightly  water-stained  at  the  top. 
A rare  and  curiously  interesting  print. 


KLEIN,  JOHANN  ADAM 

Born  at  Nuremberg  in  1792;  died  at  Munich  in  1875.  A pupil  of  H.  von  Bemmel 
and  Ambr.  Gabler. 

17 1 — Radirungen  von  I.  A.  Klein 

Set  of  104  plates,  including  title  page.  Designed  and  etched  by  Klein  in  1844.  All 
are  in  good  condition.  Many  are  proofs  on  India  paper.  To  be  sold  as  one  lot. 


31 


LARMESSIN,  NICOLAS  DE 


Born  at  Paris  in  1684;  died  there  in  1755.  There  are  by  him  a number  of  portraits, 
historical  and  other  subjects,  engraved  in  a neat,  finished  style. 

172 — Guillaume  Couston  (After  J.  de  Lien) 

Engraved  for  his  reception  into  the  Academy  in  1730.  In  excellent  condition. 


LAURO,  AGOSTINO 

173 — La  Meditazione 

A portrait  of  Lauro’s  daughter,  engraved  by  him,  from  his  own  design,  after  her 
death. 

174 — Studies  of  Trees 

Two  sheets. 


LAUTENSACK,  HANS  SEBALD 

Born  at  Bamberg  in  1524;  died  at  Vienna  in  1560.  A pupil  of  his  father,  Paul 
Lautensack. 

175 — Castle  upon  a Rocky  Island 

Bartsch,  No.  39.  Engraved  in  1553.  Good  impression.  In  excellent  condition. 

LECOMTE,  NARCISSE 

Born  at  Paris  in  1794.  A pupil  of  Lignon. 

* 176 — Madonna  and  Child,  with  the  Infant  Saint  John  (After  Francia) 

Very  fine  proof  before  letters.  With  only  the  names  of  the  artists  and  the  date  1825. 

LE  CONTE,  JOHN 

177 — Portrait  of  Dr.  Chalmers  (After  Hills) 

Fine  proof  before  all  letters,  bearing  signatures  of  the  painter  and  of  the  engraver. 

32 


LEISNIER,  NICOLAS  AUGUSTE 


Born  at  Paris  in  1787.  A pupil  of  Halbon.  In  1834  he  was  made  a Knight  of  the 
Legion  of  Honor,  and  died  in  1862. 

178 — The  Cathedral  of  Cologne 

Sixteen  plates,  engraved  by  various  artists,  of  details,  ground-plan,  etc.,  etc.,  of 
Cologne  Cathedral.  Leisnier  engraved  the  most  interesting  plate  of  the  series,  a view 
of  the  interior.  Sixteen  pieces.  One  lot. 


LEONARDO  DA  VINCI  (After) 

179 — The  Last  Supper 

The  main  picture  surrounded  by  medallion  heads  of  the  twelve  apostles,  and  with 
the  head  of  Christ  in  the  centre.  Engraved  by  D.  F.  Brown. 

Also 

A Lithograph,  a Small  Engraving,  and  a Photograph  of  the  Same  Picture, 
and  a Photograph  of  the  Head  of  Christ  from  the  Same 

Five  pieces. 


LEPIC1E,  BERNARD 

Born  in  Paris  in  1698;  died  there  in  1755.  A pupil  of  Audran. 

180 — Nicolas  Bertin,  Painter  (After  De  Lien) 

Engraved  in  1740  for  his  admission  into  the  Academy.  In  excellent  condition. 


LE  PAUTRE,  JEAN 

Born  at  Paris  in  1618;  died  there  in  1682.  His  works  number  nearly  fifteen 
hundred  plates. 

181 — Statues,  Fountains,  etc.,  in  the  Gardens  at  Versailles 

Engraved  in  1673-1675.  Large  margins.  Fifteen  pieces.  One  lot. 

LEVASSEUR 

182 — “ Ma  Sceur  n’y  est  pas  ” (After  Hamon) 

Open  letter  proof.  In  fine  condition. 

3 33 


LIGNON,  ETIENNE  FREDERIC 

Born  at  Paris  in  1781.  A pupil  of  Morel. 


183 — Nicolas  Poussin  (After  Poussin) 

Engraved  in  1824.  Good  original  impression. 


LOMBART,  PIERRE 

Born  at  Paris  in  1620;  died  there  in  1681.  He  went  to  England  some  time  before 
the  Restoration  and  remained  there  until  1672.  His  best  works  are  his  portraits. 

184 — “ Van  Dyck’s  Countesses  ” 

Ten  engravings  after  the  paintings  of  Sir  Anthony  Van  Dyck.  The  ladies  repre- 
sented are: 

Ann,  Countess  of  Bedford 
Lucy,  Countess  of  Carlisle 
Margaret,  Countess  of  Carlisle 
Anna  Sophia,  Countess  of  Carnarvon 
Elizabeth,  Countess  of  Castlehaven 
Elizabeth,  Countess  of  Devonshire 
Penelope,  Lady  Herbert 
Rachel,  Countess  of  Middlesex 
# Ann,  Countess  of  Morton 

Dorothy,  Countess  of  Sunderland 

All  are  with  full  margins,  in  excellent  condition.  Ten  pieces.  To  be  sold  as  a set. 


LONDONIO,  FRANCESCO 

Born  at  Milan  in  1723;  died  in  1783.  His  pastoral  subjects  are  much  esteemed, 
and  are  etched  from  his  own  designs  from  nature.  They  are  executed  in  a spirited  style. 

185 — “ Associazione  all’  Opera  del  Celebre  Pittore  Incisore  Francesco 
Londonio,  Milanese,  Socio  Onorario  di  Diverse  Accademie  di 
Belle  Arti,  ecc.,  ecc.” 

Seventy-four  plates.  With  portrait  and  biography.  Paper  wrappers.  All  the 
impressions  are  on  large  paper.  All  are  in  excellent  condition,  as  issued.  One  lot. 

34 


LONGHI,  GIUSEPPE 

Born  at  Monza  in  1766;  died  at  Milan  in  1831. 

“ Longhi  was  a universal  master,  and  his  portraits  are  only  parts  of  his  work.” — 
“ The  Best  Portraits  in  Engraving.” 

* 186 — The  Marriage  of  the  Virgin  (After  Raphael) 

Fine  impression.  Full  margins.  With  the  name  of  Lissant  as  printer. 

187 — The  Birth  of  the  Virgin 

Early  trial  proof.  With  the  faces  of  the  Virgin  and  the  four  attendant  women 
white.  In  outline  only. 

* 188 — The  Magdalen,  Reading  (After  Correggio) 

One  of  Longhi’s  most  beautiful  plates.  Fine  impression.  With  full  margins. 

The  Repose  in  Egypt  (After  Procaccino) 

m 

Portrait  of  Michel-Angelo 
The  Three  Ages 

Longhi’s  last  work.  Proof  before  letters,  and  a lettered  impression.  Four  pieces. 
One  lot. 


LORICHON,  CONSTANT  LOUIS 

Born  at  Paris  in  1800.  A pupil  of  Forster. 

189 — Madonna  of  the  Bridgewater  Gallery  (After  Raphael) 

Engraved  in  1832.  Good  impression.  With  margins. 


LOUIS,  ARISTIDE 

A pupil  of  Henriquel-Dupont. 

190 — Queen  Victoria  (After  Winterhalter) 

Prince  Albert  (After  Winterhalter) 

A pair.  First  published  in  1847-1848.  The  Queen  is  engraved  by  Forster.  Fine 
impressions.  In  perfect  condition.  With  full  margins. 


35 


i9x — 


LUCAS,  ALFRED 
Deer  Hounds  (After  Bateman) 


Luna 

Engraved  by  Paterson.  After  Bateman.  Two  pieces. 


LUCAS  VAN  LEYDEN 

Born  at  Leyden  in  1494;  died  there  in  1533. 

“ He  carried  the  art  of  engraving  to  a wonderful  pitch  of  perfection,  considering 
the  shortness  of  his  life,  and  his  prints  rank  with  those  of  Marc  Antonio  and  Albert 
Diirer.  Good  impressions  are  exceedingly  rare,  and,  even  in  the  lifetime  of  the  artist, 
sold  at  high  prices.  The  plates  were  so  delicately  engraved  that  they  yielded  very  few 
good  impressions.” 

192 — Abraham  and  the  Three  Angels 

Bartsch,  No.  15.  A brilliant  and  beautiful  impression.  In  perfect  condition.  Very 
rare  of  such  quality.  From  the  Mary  J.  Morgan  Collection. 

193 — Abraham  Sending  Away  Hagar 

Bartsch,  No.  18.  A fine  original  impression.  In  perfect  condition.  Rare.  From 
the  Keller  and  Mary  J.  Morgan  Collections. 

194 — The  Two  Elders  Perceiving  Susannah  at  the  Bath 

Bartsch,  No.  33.  Very  fine  original  impression.  In  perfect  condition.  An  impres- 
sion of  such  quality  is  very  rarely  to  be  met  with. 

195 — Two  Photographs 

Mounted  upon  cards,  of  the  following  engravings: 

Adam  and  Eve  Driven  from  the  Garden  of  Eden 

The  Two  Elders  Perceiving*  Susannah  at  the  Bath 

Two  pieces.  One  lot. 


MANDEL,  JOHANN  AUGUST  EDUARD 

Designer  and  engraver.  Born  at  Berlin  in  1809;  died  in  1882.  The  last  of  the 
great  line  engravers.  In  1878  he  is  reported  to  have  said,  “ When  I die  there  will  be 
no  more.” 

196 — Raphael  at  the  Age  of  Fifteen 

After  the  painting  by  Raphael  in  the  Louvre.  Beautiful  impression  on  India  paper., 
Full  margins.  Proof,  with  the  names  of  the  artists  only.  Before  title. 

36 


197 — Portrait  of  Anthony  Van  Dyck 

After  the  painting  by  Van  Dyck  in  the  Louvre.  Beautiful  impression  on  India 
paper.  Full  margins. 

198 — The  Warrior  and  His  Child 

After  the  painting  by  T.  Hildebrand.  Fine.  Open  letter  proof.  Full  margins. 

199 — Mary,  the  Mother  of  Jesus,  Weeping 

After  the  painting  by  Carlo  Dolci.  A beautiful  impression.  Full  margins. 

200 — The  Madonna  of  the  Chair  (“  Madonna  della  Sedia  ”) 

After  the  painting  by  Raphael.  Signed  artist’s  proof.  The  engraver’s  name  and  the 
date  1865  lightly  traced  in  the  middle.  On  India  paper.  Full  margins.  A magnificent 
impression.  Very  rare. 

201 — The  Madonna  and  Child 

After  the  painting  by  Raphael.  Signed  artist’s  proof,  with  remarque.  A superb 
impression  on  India  paper,  bearing  the  stamped  monogram  of  the  engraver.  Full 
margins.  In  perfect  condition.  Engraved  in  1871. 


MARCENAY  DE  GHUY,  ANTOINE 

Amateur  painter  and  etcher.  Born  at  Arnay-sur-Aron  in  1722.  Died  at  Paris  in  1811. 

202 — The  Works  of  Antoine  Marcenay  de  Ghuy 

This  set  lacks  plates  13,  54,  15,  16,  17,  18,  20,  32,  36,  and  40,  but  is  otherwise  com- 
plete from  plate  1 to  plate  55.  Printed  upon  thirty  sheets.  Some  are  slightly  water 
stained  in  the  lower  right  hand  corners  of  the  margins,  otherwise  all  are  in  excellent 
condition.  Thirty  sheets.  One  lot. 

203 — La  Fleuriste  (After  Gerard  Dow) 

Engraved  in  1766.  Good  original  impression.  In  excellent  condition. 

Also 

La  Vieille  Inquiete 

By  De  Mautort,  after  Schalken. 

L’Education  Badine 

By  Langlois,  after  Schalken.  Three  pieces.  One  lot. 

37 


MARSHALL,  WILLIAM  E. 

Painter  and  engraver.  Born  in  New  York  city  in  1836. 

204 — Portrait  of  Henry  Ward  Beecher 

Engraved  by  Marshall  from  his  own  painting.  Fine  impression.  Full  margins. 

205 — Portrait  of  General  U.  S.  Grant 

Engraved  by  Marshall  in  1868  from  his  own  painting.  Fine  impression.  Full  margins. 

206 — Portrait  of  Abraham  Lincoln 

Engraved  by  Marshall  from  his  own  painting.  Fine  impression.  Full  margins. 

207 — Portrait  of  George  Washington 

From  the  painting  by  Gilbert  Stuart.  Engraved  in  1862.  Fine  impression.  This 
is  one  of  the  most  satisfactory  of  the  many  engraved  portraits  of  Washington. 


MARTINET,  ACHILLE  LOUIS 

Born  at  Paris  in  1806;  died  there  in  1877.  A pupil  of  Pauquet,  Forster,  and  Heim. 

208 —  Charles  I.  in  the  Guard  Room  of  Cromwell’s  Soldiers  (After  Paul 

Delaroche) 

Open  letter  proof.  In  perfect  condition.  Full  margins. 

209 — Hamlet  (After  Bejard) 

Engraved  in  conjunction  with  Alphonse  Martinet.  Open  letter  proof.  In  perfect 
condition.  Full  margins. 


MASSARD,  J.-B.  RAPHAEL-URBAIN 

Son  and  pupil  of  Jean-Baptiste  Massard.  Born  at  Paris  in  1775. 

* 210 — Louis  XVIII.  (After  Gerard) 

Engraved  in  1819.  The  finest  portrait.  The  rendering  of  the  velvet,  ermine, 
embroidery,  etc.,  is  worthy  of  all  praise. 


MASSARD,  L. 

* 21 1 — Saint  Jerome 

Engraved  by  Massard,  from  his  own  design,  in  1869.  Fine  impression  on  India 
paper.  Full  margins. 


38 


MASSON,  ANTOINE 


Born  at  Louvry,  near  Orleans,  in  1636.  He  removed  at  an  early  age  to  Paris, 
became  a member  of  the  Academy  in  1679,  and  died  in  Paris  in  1700. 

Among  French  masters,  Antoine  Masson  is  conspicuous  for  brilliant  hardihood  of 
style,  which,  though  failing  in  taste,  is  powerful  in  effect.  Metal,  armor,  velvet, 
feathers,  seem  as  if  painted.  His  immense  skill  made  him  welcome  difficulties,  as  if 
to  show  his  ability  in  overcoming  them.” — “ The  Best  Portraits  in  Engraving.” 

212 — The  Supper  at  Emmaus  (After  Titian) 

Robert-Dumesnil,  No.  5.  This  engraving  is  sometimes  called  “ La  Nappe,”  from 
the  exquisite  work  of  the  table-cloth.  It  is  one  of  Masson’s  finest  plates,  arid  good 
impressions  are  rare. 

* 213 — Henri  de  Lorraine,  Comte  d’Harcourt  (After  Mignard) 

Robert-Dumesnil,  No.  34.  This  engraving  is  known  as  “ Le  Cadet  a la  Perle,” 
from  the  pearl  in  the  ear  of  the  personage,  and  is  sometimes  considered  the  finest  of 
engraved  portraits. 

214 — The  Same  (another  impression) 


THE  MASTER  OF  THE  DIE 

His  real  name  is  unknown.  Born  about  1512.  From  his  style  of  engraving  he 
seems  to  have  been  a pupil  of  Marc  Antonio  Raimondi.  His  drawing  is  correct  and 
his  plates  are  well  engraved. 

215 — A Naval  Battle 

Bartsch,  No.  78.  It  is  surmised  that  this  plate  was  engraved  after  a drawing  by 
Giulio  Romano. 


MATHIEU,  JEAN 

Born  in  1749;  died  at  Fontainebleau  in  1815.  A pupil  of  Longueil. 

216 — Le  Temps  Orageux 

After  Fragonard.  Fine  original  impression.  In  perfect  condition. 


McRAE,  J.  C. 

217 — Henry  Ward  Beecher  (After  T.  Hicks) 

Engraved  in  mezzotint  in  1853.  Good  impression.  In  perfect  condition. 

39 


MECKEN,  ISRAEL  VAN 

218 — Five  Photographs  of  Various  Engravings 

also 

Six  Photographs  after  the  Engravings  of  the  Master  E.  S.,  Three  Repro- 
ductions (on  one  sheet)  of  Nielli;  One  Reproduction  after  each 
of  the  following  masters:  Botticelli,  H.  Bosche,  Barthel  Schon, 
Nicoletto  da  Modena,  Benedetto  Montagna,  and  One  Anonymous 
Italian  Engraver 

Eighteen  sheets.  One  lot. 


MELLAN,  CLAUDE 

Born  at  Abbeville  in  1601.  Pupil  of  Simon  Vouet.  When  sixteen  years  of  age 
he  went  to  Rome,  and  there  studied  under  Villamena.  He  then  removed  to  Paris, 
and  died  there  in  1688. 

219 — Saint  Peter  Nolasque  Borne  by  Two  Angels 

Designed  and  engraved  by  Mellan  in  1627.  This  is  the  engraver’s  finest  plate,  and 
impressions  are  very  rare,  as  the  plate  was  lost  by  shipwreck  in  transmission  from 
Rome  to  Paris  when  very  few  proofs  had  been  printed.  A fine  original  impression. 
Very  slight  tear  in  the  lower  left  hand  corner  of  the  margin.  From  the  Mary  J. 
Morgan  Collection. 

Also 

The  Sudarium  of  Saint  Veronica 

This  is  not  the  original,  but  is  a copy  of  Mellan’s  famous  plate  of  the  same  subject. 
Two  pieces.  One  lot. 

METZMACHER 

* 220 — La  Vierge  au  Linge  (After  Raphael) 

Fine  original  impression.  In  perfect  condition.  Full  margins. 

MEYER,  HENRY 

Born  in  London  in  1782;  died  in  1847. 

221 — Edwin  Forrest  (After  J.  W.  Childe) 

Two  impressions,  proofs  on  India  paper,  of  this  portrait,  together  with  ten  other 
portraits,  various,  and  two  fac-similes  of  the  “ Death  Warrant  of  King  Charles  the 
First.”  Fourteen  pieces.  One  lot. 


40 


MICHEL,  JEAN-BAPTISTE 

Born  at  Paris  in  1748.  Died  at  London  in  1804. 

222 —  Alfred  the  Third,  King  of  Mercia,  Visiting  William  D’Albanac 

(After  Benjamin  .West) 

Engraved  in  1782.  Good  original  impression. 

223 — The  Adoration  of  the  Shepherds  (After  Guido  Reni) 

Proof  before  letters.  With  the  names  of  the  artists  and  the  publication  line  lightly 
traced  with  the  needle. 

MITCHELL,  R. 

224 — Happy  Mothers  (After  R.  Ansdell) 

Startled  Twins  (After  R.  Ansdell) 

A pair.  Lettered  impressions.  Excellent  condition. 

Also 

Saint  Bernard  Dogs  Finding  a Lost  Traveller 

Proof  before  all  letters.  Three  pieces.  One  lot. 


MORGHEN,  RAPHAEL 

Born  at  Portici  in  1758;  died  at  Florence  in  1833.  A pupil  of  his  father,  Filippo 
Morghen,  and  then  of  Volpato. 

“ Probably  no  engraver  has  so  large  a following  of  admirers  as  Raphael  Morghen. 
. . . This  is  partly  due  to  his  soft  and  captivating  style  and  partly  to  his  excellent 

judgment  in  the  choice  of  subjects.” — “ The  Golden  Age  of  Engraving.” 

225 — iEsculapius  and  Hygeia 

From  an  original  ivory  diptych,  now  in  the  Mayer  Museum,  Liverpool.  Engraved 
upon  a silver  plate.  Halsey,  No.  2.  Second  state,  before  the  inscription  below.  Rare. 

226 — Angelica  and  Medoro  (After  Matteini) 

Halsey,  No.  11.  Fourth  state.  Rare. 

227 — Joanna,  Queen  of  Aragon  (After  Raphael) 

Halsey,  No.  12.  First  trial  proof,  with  the  face  and  hands  in  outline  only.  Also 
fourth  state,  with  address  of  Danlos.  Two  pieces. 

4i 


228 — Aurora,  with  Apollo  and  the  Hours  (After  Guido  Reni) 

Halsey,  No.  1 6.  Fifth  state  (of  seven).  Before  the  sails  were  cross-hatched.  A 
fine  impression.  With  full  margins.  In  perfect  condition. 

*229 — The  Family  of  the  Princess  Bariatinski  (After  Angelica  Kauff- 
man) 

Halsey,  No.  21.  Fourth  state,  with  the  verses  below.  Fine  original  impression. 
In  perfect  condition. 

230 — Charity 

After  the  painting  by  Ignatz  Unterberger  (1748-1797).  Wrongly  attributed  to  Cor- 
reggio. Halsey,  No.  34.  Third  state.  Fine  original  impression.  In  perfect  condition. 
With  full  margins. 

231 — Diana  and  Her  Nymphs  (After  Domenichino) 

Halsey,  No.  50.  Fourth  state.  Fine  original  impression.  Full  margins.  Slightly 
spotted  with  mildew.  This  engraving  is  one  of  Raphael  Morghen’s  best  plates,  and 
fine  impressions  are  scarce. 

232 — Portrait  of  Giovanni  Fantoni  (After  F.  Tenderini) 

Halsey,  No.  56.  Third  state.  Fine  original  impression.  From  the  Mary  J.  Mor- 
gan Collection. 

* 233 — Lot  and  His  Daughters  (After  Guercino) 

Halsey,  No.  87.  Proof  before  letters.  With  only  the  artists’  names.  No  impres- 
sions are  known  before  the  artists’  names.  Fine.  Full  margins. 

Also 

Lot  and  His  Daughters  (After  Guercino) 

Engraved  by  Guglielmo  Morghen,  brother  of  Raphael  Morghen.  Fine  original  im- 
pression. Two  pieces. 

234 —  Madonna  di  Tiziano:  “ Parce  Somnum  Rumpere  ” (After  Titian) 
Halsey,  No.  104.  Fifth  state  (of  six).  Fine  original  impression.  Full  margins. 

235 — General  Francesco  di  Moncada  (After  Van  Dyck) 

Halsey,  No.  121.  Fifth  state  (of  six).  Before  the  cross-hatching  on  the 'armor. 
Fine  impression,  but  margin  has  been  trimmed  to  within  one-quarter  inch  of  plate 
mark  all  round. 

“ The  engraver’s  most  ambitious  effort  in  portraits,  and  a wonderful  specimen  of 
the  art.” — Halsey. 


42 


236 — Portrait  of  Raphael  Morghen 

After  his  own  design.  Halsey,  No.  127.  Fourth  state.  Fine  impression.  With 
full  margins. 

237 — Poetry  (After  Gavin  Hamilton) 

Halsey,  No.  145.  Third  state  (of  four).  Fine  original  impression.  Lower  margin 
slightly  trimmed. 

238 — The  Transfiguration  (After  Raphael) 

Halsey,  No.  167.  Trial  proof  B.  Rare.  This  is  the  first  plate  of  “ The  Transfigura- 
tion,” and  was  left  in  this  unfinished  condition  by  Raphael  Morghen,  and  was  finished 
by  his  brother  Antonio. 

“ It  is  certain  that  this  discarded  plate  is  much  superior  in  some  respects  to  the 
other,  especially  in  the  upper  portion,  which  is  treated  with  more  delicacy  and  judg- 
ment. The  engraving  of  the  draperies  is  acknowledged  to  be  stronger  and  more 
effective  as  compared  with  the  plate  as  engraved  after  Tofanelli’s  drawing.” — Halsey. 

239 — Daphne  and  Apollo 

Engraved  in  the  manner  of  Raphael  Morghen.  Proof  before  all  letters.  Fine 
impression.  Full  margins. 


MOTTRAM,  CHARLES 

240 — The  Plains  of  Heaven  (After  John  Martin) 

Original  impression.  With  full  margins. 

241 — The  Great  Day  of  His  Wrath  (After  John  Martin) 

Original  impression.  With  full  margins. 


MULLER,  JOHANN  GOTTHARD 

Born  at  Bernhausen,  near  Stuttgart,  in  1747;  died  at  Stuttgart  in  1830.  A pupil  of 
Wille.  Father  and  teacher  of  J.  Friedrich  W.  Muller,  the  engraver  of  the  “ Sistine 
Madonna.” 

242 — Louis  Leramberg,  Sculptor  (After  N.  S.  A.  Belle) 

Engraved  in  1775  for  his  admission  into  the  Academy. 


43 


MULLER,  JOHANN  FRIEDRICH  WILHELM 

Son  and  pupil  of  Johann  Gotthard  Muller.  Born  in  Stuttgart  in  1782.  He  studied 
several  years  at  the  Academy  in  Paris,  was  made  engraver  to  the  King  of  Wiirtemberg, 
and  afterwards  professor  at  the  Academy  of  Dresden.  He  died  at  the  Sonnenstein, 
near  Dresden,  in  1816. 

243 — Madonna  di  San  Sisto  (After  Raphael) 

A fine  impression,  on  India  paper. 

“ These  first  impressions  on  India  paper  precede  those  on  plain  paper,  and  are 
highly  esteemed.  They  are  said  to  have  been  taken  in  very  small  numbers  and  for 
presentation  copies.”— Louis  Thies’  note  in  the  catalogue  of  the  Gray  Collection  at 
Harvard. 

This  great  work  placed  Muller  at  the  head  of  all  modern  engravers,  and  upon  this 
plate  he  bestowed  all  the  energies  of  the  last  six  years  of  his  life.  He  may  be  said  to 
have  sacrificed  life  itself  for  it,  since  the  thankless  task  of  deepening  the  lines  (so  that 
the  publisher  could  issue  a larger  edition)  resulted  in  insanity  and  death. 

244 — Saint  John  the  Evangelist  (After  Domenichino) 

First  state.  With  “ Dominichino  pinx,”  and  with  the  date  1808.  A beautiful  origi- 
nal impression.  Rare  and  fine. 


NANTEUIL,  ROBERT 

Born  at  Rheims  in  1630.  In  1647  he  went  to  Paris  and  received  instruction  (as  a 
painter)  from  Philippe  de  Champagne  and  (as  an  engraver)  from  Abraham  Bosse. 
He  died  in  Paris  in  1678. 

“ Nanteuil’s  abilities  were  refined  by  a classical  education,  and  his  correct  taste 
restrained  him  from  running  into  the  prevailing  fashion  of  meretricious  ornamenta- 
tion. . . . His  works  illustrate  the  reign  of  Louis  XIV.,  and  are  all,  without  ex- 

ception, fine.” — “ The  Golden  Age  of  Engraving.” 

245 — Anne  of  Austria,  Queen  of  Louis  XIII.  (After  Mignard) 

Robert-Dumesnil,  No.  22.  Fifth  state.  In  excellent  condition. 

246 — Jacques,  Marquis  de  Castelnau 

Engraved  by  Nanteuil  in  1658  from  his  own  design.  In  excellent  condition. 


NOBLE,  GEORGE 

247 — Lady  Jane  Grey  (After  Holbein) 

Open  letter  proof.  Fine  original  impression.  Full  margins. 

44 


NORDHEIM 


248 — Madonna  di  San  Sisto  (After  Raphael) 

Impression  with  the  names  of  the  painter  and  of  the  engraver  only.  In  the  lower 
margin  the  American  eagle,  grasping  a sheaf  of  arrows,  bound  with  a ribbon,  upon 
a flowing  end  of  which  is  engraved  E PLURIBUS  UNUM.  A very  clear  impression. 
Full  margins. 


OSTADE,  ADRIAAN  VAN 

Born  at  Lubeck  in  1617.  Moved  to  Amsterdam  in  1662,  and  died  there  in  1685.  A 
pupil,  in  painting,  of  Frans  Hals. 

“ Ostade,  especially,  was  a composer  of  remarkable  ability,  combining  in  the  most 
felicitous  way  the  two  compositions  of  form  and  chiaroscuro.” — P.  G.  Hamerton. 

249 — Paysanne  qui  Rit 

Bartsch,  No.  1. 

Paysanne  avec  une  Petite  Toque  Noire 

Bartsch,  No.  2. 

Le  Fumeur 

Bartsch,  No.  5.  Three  pieces.  One  lot. 

250 — La  Tendresse  Champetre 

Bartsch,  No.  11. 

251 — La  M£re  et  les  Deux  Enfants 

Bartsch,  No.  14. 

*L’Ecole 

Bartsch,  No.  17.  Two  pieces.  One  lot. 

252 — Le  Savetier 

Bartsch,  No.  27.  Sixth  state.  In  excellent  condition. 

253 — Le  Peintre 

Bartsch,  No.  32.  Has  been  pasted  down. 

254 — Le  P&re  de  Famille 

Bartsch,  No.  33. 

255 — La  Famille 

Bartsch,  No.  46. 

45 


256 — 


La  Danse  au  Cabaret 

Bartsch,  No.  49.  Very  wide  margins. 


257— 

La  Danse  au  Cabaret 

Bartsch,  No.  49. 

258— 

Le  Gouter 

Bartsch,  No.  50.  And  a duplicate  of  the  same.  Two  pieces.  Lower  margins  of 
both  prints  have  been  trimmed. 


OTTAVINI,  GIOVANNI  (and  VOLPATO,  GIOVANNI) 

Born  at  Rome  about  1735;  died  in  1808.  A pupil  of  Wagner,  in  Venice. 

259 — The  Loggie  of  Raphael.  Part  I. 

Thirteen  plates.  The  set.  Frequently,  but  incorrectly,  spoken  of  as  the  Arabesques 
of  Raphael,  whereas  these  ornaments  are  in  the  style  of  the  antique  grotesque. 

Also 

A Perspective  View  of  the  Loggie,  with  a Medallion  Portrait  of  Raphael 
Above ; Door  A of  the  Loggie ; Door  B of  the  Loggie 

Sixteen  pieces.  One  lot. 

260 — The  Loggie  of  Raphael.  Part  II.  Complete 

Showing  thirteen  arches  and  the  pictures  over  them.  (“  Raphael’s  Bible.”)  With 
title  “ Seconda  Parte  Delle  Logge.”  Ottavini  engraved  all  but  the  subjects  from  the 
Bible,  which  were  engraved  by  Volpato.  The  thirteen  scenes  represented  are: 

1  God  Dividing  Light  from  Darkness 

2  Adam  and  Eve  at  Work,  out  of  Paradise 

3  Building  of  the  Ark 

4  Three  Angels  Appearing  to  Abraham 

» 

5  God  Appearing  to  Isaac 
6 Jacob’s  Ladder 
7 Joseph  Telling  His  Dream 
8 The  Finding  of  Moses 
9 Moses  Showing  the  Tables  of  the  Law 

46 


io  The  Fall  of  Jericho 
ii  David’s  Triumph  Over  the  Syrians 
12  The  Judgment  of  Solomon 
13  The  Last  Supper 

All  are  fine  original  impressions.  With  full  margins.  Fourteen  pieces.  One  lot. 

261 — The  Loggie  of  Raphael.  Part  III 

Twelve  plates.  The  set.  All  were  engraved  by  Volpato.  Original  impressions. 
Full  margins.  Twelve  pieces.  One  lot. 


OUTRIM,  JOHN 

262 — The  Highland  Breakfast  (After  Edwin  Landseer) 

Proof  on  India  paper.  The  names  of  painter  and  engraver,  the  title,  and  the  publi- 
cation line  lightly  traced  with  the  needle. 

PARBONI,  PIETRO 

263  Two  Landscapes  (After  Claude  Lorraine)' 

Also 

Thirteen  Miscellaneous  Engravings,  Landscapes,  and  Figures 

Fifteen  pieces.  One  lot. 


PERFETTI,  ANTONIO 

Born  at  Florence  in  1790;  died  there  in  1872.  A pupil  of  Raphael  Morghen. 

264 — Cosimo  de  Medici  (After  Iacopo  Carrucci  da  Pontormo) 

Open  letter  proof.  Fine.  From  the  Mary  J.  Morgan  Collection. 

265 — The  Cavaliere  de  Onis  (After  Suter) 

Proof  before  letters.  Fine.  From  the  Mary  J.  Morgan  Collection. 


266— 

267 — 


PERINE,  GEORGE  E. 
The  Good  Part  (After  Fazel) 
The  Good  Part  (After  Fazel) 


268- 


The  Mother  of  Our  Lord  (After  Goodall) 
The  Mother  of  Our  Lord  (After  Goodall) 


269 — 


PICHLER,  JOHANN  PETER 

Born  at  Botzen  in  1765;  died  at  Vienna  in  1806.  A pupil  of  Schmutzer  and  of 
Jacobe. 

270 — A Fruit  Piece  (After  Jan  van  Huysum) 

A Flower  Piece  (After  Jan  van  Huysum) 

A fine  pair  of  mezzotint  engravings,  executed  in  1806. 

PILOTY,  FERDINAND 

271 — The  Holy  Trinity  (After  Rubens) 

Fine  impression  on  India  paper. 

Also 

A Lithograph  of  Rubens  and  His  Family 

Two  pieces. 


PIZZI,  LUIGI 

272 — The  Infant  Saviour  (After  Domenichino) 

Open  letter  proof,  on  India  paper.  Fine. 

Also 

Portraits  of  Tintoretto  and  of  Giulio  Romano 

Engraved  by  Rinaldi  and  Tassaert. 

Madonna  and  Child 

Engraved  by  Chatillon,  after  Giulio  Romano. 

And 

A Portrait  of  Christ 

Five  pieces  in  all. 


POILLY,  FRANCOIS  DE 

Born  at  Abbeville  in  1622;  died  at  Paris  in  1693.  A pupil,  in  Paris,  of  Pierre  Daret, 
and  of  Cornelis  Bloemaert  in  Rome. 

“ His  plates  are  executed  entirely  with  the  burin,  which  he  handled  with  uncommon 
firmness  and  dexterity.” 

273 — The  Virgin  Praying  (After  Raphael) 

Fine  original  impression.  With  full  margins. 


PORRETTI,  A. 

274 — The  Madonna  of  the  House  of  Orleans  (After  Raphael) 

also 

Four  Other  Engravings  of  Madonnas 

All  late  impressions.  All  in  poor  condition. 


RAIMBACH,  ABRAHAM 

Born  at  London  in  1776;  died  there  in  1843. 

275 — Blind  Man’s  Buff  (After  David  Wilkie) 

Very  fine  open  letter  proof,  on  India  paper. 

RAIMONDI,  MARC-ANTONIO 

Born  at  Bologna  about  1488;  died  there  in  1534. 

“ Among  collectors  of  the  oldest  engravings  Marc  Antonio  is  a great  name,  rank- 
ing with  Albert  Diirer  and  Rembrandt.” — “ The  Golden  Age  of  Engraving.” 

276 — Les  Grimpeurs 

Bartsch,  No.  487.  Engraved  from  Michel- Angelo’s  cartoon  of  “The  Battle  of 
Pisa.”  Has  been  mounted  and  repaired. 

“ Cette  estampe  est  une  des  plus  considerables,  comme  elle  est  une  des  plus  rares  de 
son  oeuvre.” — Bartsch,  Vol.  XIV.,  p.  361. 

Also 

Reproduction,  by  Amand-Durand,  of  a very  fine  impression  of  the  same 

Engraving 

Two  pieces. 

49 


4 


277— 


The  Sibyl 

Bartsch,  No.  7.  A fine  impression  from  the  collections  of  P.  Mariette  (1704),  Wil- 
letts (1812),  and  Sir  Mark  Sykes,  and  Mary  J.  Morgan.  After  a drawing  by  Raphael. 
According  to  Bartsch  this  plate  was  not  engraved  by  Marc  Antonio  himself,  but  by 
an  anonymous  engraver  of  the  school  of  Marc  Antonio. 

278 —  Notice  sur  la  Vie  de  Marc  Antoine  Raimondi.  Graveur  Bolonais, 

accompagne  de  reproductions  photographiques  de  quelques  unes 
de  ses  estampes  par  M.  Benjamin  Delessert.  Paris,  1853. 

Eleven  photographs  after  engravings  by  Marc  Antonio,  one  after  Diirer.  Twelve 
pieces  mounted  on  eleven  cards.  With  text,  as  issued.  Paper  wrappers.  One  lot. 

279 — Ten  Photographs 

Mounted  upon  eight  cards.  With  text  by  M.  Benjamin  Delessert.  Paris,  1853. 
Paper  wrapper,  as  issued.  One  lot. 

280 —  Four  Amand-Durand  Reproductions  of  Various  Engravings  by 

Marc  Antonio 

One  lot. 


RAINALDI,  FRANCESCO 

Born  at  Rome  in  1770;  died  in  1805.  A pupil  of  Bettelini  and  of  Raphael  Morghen. 

281 — Aurora,  with  Apollo  and  the  Hours  (After  Guido  Reni) 

Good  original  impression.  Slight  mildew  spots  in  margin. 


50 


SECOND  EVENING'S  SALE 


Tuesday f March  26  th 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  7.30  O’CLOCK 


REMBRANDT  VAN  RYN 

Born  in  Leyden  in  1608;  died  in  Amsterdam  in  1669. 

“ Every  art  has  its  great  representative  master,  and  the  representative  etcher  is 
Rembrandt.” — P.  G.  Hamerton. 

“ Rembrandt  may  be  regarded  as  the  great  representative  etcher  for  all  time.  He 
did  not  originate  the  process;  but,  having  found  it  in  a crude  and  undeveloped  state, 
he  carried  it  to  a height  of  perfection  which,  as  a whole,  has  never  since  been  equalled.” 
— “ The  Modern  Disciples  of  Rembrandt.” 

282 — Jacob  and  Laban,  or  Three  Oriental  Figures 

Charles  Blanc,  No.  7.  Bartsch,  No.  118.  Claussin,  No.  120.  Wilson,  No.  122. 

283 — The  Circumcision 

Charles  Blanc,  No.  20.  Bartsch,  No.  47.  Claussin,  No.  51.  Wilson,  No.  52.  Second 
state.  In  excellent  condition. 

* 

284 — The  Holy  Family  Crossing  a Stream 

Ch.  Blanc,  No.  28.  Bartsch,  No.  55.  Claussin,  No.  59.  Wilson,  No.  60.  This 
print  is  rare. 

285 — The  Repose  in  Egypt.  In  Outline 

Ch.  Blanc,  No.  31.  Bartsch,  No.  58.  Claussin,  No.  62.  Wilson,  No.  63.  A fine 
impression.  With  full  margin.  From  the  Cambridge  University  and  Mary  J.  Morgan 
Collections. 

“ Ce  morceau  est  tres-pale,  et  en  certains  endroits  les  traits  en  sont  a peine  visibles.” 
— Ch.  Blanc,  Vol.  I.,  p.  129. 


5i 


286— 


The  Holy  Family,  with  the  Cat 


Ch.  Blanc,  No.  34.  Bartsch,  No.  63.  Claussin,  No.  67.  Wilson,  No.  67.  A good 
impression.  In  perfect  preservation.  The  face  of  Saint  Joseph,  the  skirt  of  the  Virgin, 
and  the  curtain  behind  her  show  signs  of  pen  work,  but  added  with  so  much  knowledge 
that  they  have  the  appearance  of  having  been  drawn  in  by  Rembrandt  himself. 

287 — Christ  and  the  Woman  of  Samaria  at  the  Well 

Ch.  Blanc,  No.  45.  Bartsch,  No.  70.  Claussin,  No.  74.  Wilson,  No.  74.  The 

third  state.  In  excellent  condition. 

288 —  Christ  and  the  Woman  of  Samaria  at  the  Well  by  a Ruined  Wall 

Ch.  Blanc,  No.  46.  Bartsch,  No.  71.  Claussin,  No.  75.  Wilson,  No.  75.  Third 

state.  Repaired  in  the  upper  right  hand  corner. 

289 — The  Resurrection  of  Lazarus.  The  Larger  Plate. 

Ch.  Blanc,  No.  48.  Bartsch,  No.  73.  Claussin,  No.  77.  Wilson,  No.  77.  The 

eleventh  state.  In  excellent  condition. 

290 — Christ  Healing  the  Sick 

Ch.  Blanc,  No.  49.  Bartsch,  No.  74.  Claussin,  No.  78.  Wilson,  No.  78.  Central 
portion  of  the  plate,  after  it  had  been  retouched  by  Captain  Baillie  and  divided  into 
four  pieces.  Good  impression.  With  full  margins. 

291 — Christ  Crucified  between  Two  Thieves.  An  Oval  Plate 

Ch.  Blanc,  No.  54.  Bartsch,  No.  79.  Claussin,  No.  84.  Wilson,  No.  85.  A fine 
impression.  In  perfect  condition. 

“ Cette  planche  est  gravee  legerement  et  d’une  pointe  tres-fine.” — Ch.  Blanc,  Vol. 
I.,  p.  200. 

292 — Saint  Peter  Curing  the  Paralytic 

Ch.  Blanc,  No.  66.  Bartsch,  No.  94.  Claussin,  No.  97.  Wilson,  No.  98.  Fourth 
state.  In  excellent  condition. 


293 — The  Martyrdom  of  Saint  Stephen 

Ch.  Blanc,  No.  68.  Bartsch,  No.  97.  Claussin,  No.  100.  Wilson,  No.  102.  In 
excellent  condition. 


52 


294 — The  Death  of  the  Virgin 

Ch.  Blanc,  No.  70.  Bartsch,  No.  99.  Claussin,  No.  102.  Wilson,  No.  104.  Third 
state.  The  plate  worn  and  retouched. 

“ The  ‘ Death  of  the  Virgin  ’ may  be  taken  as  one  of  the  great  typical  examples  of 
what  etching  may  be,  and  ought  to  be.” — P.  G.  Hamerton. 

295 — Saint  Jerome  Kneeling 

Ch.  Blanc,  No.  73.  Bartsch,  No.  102.  Claussin,  No.  105.  Wilson,  No.  107.  In 
excellent  condition.  With  margin. 

296 — A Battle 

Ch.  Blanc,  No.  89.  Bartsch,  No.  117.  Claussin,  No.  119.  Wilson,  No.  121.  Sec- 

ond state.  Fine  impression.  From  the  Mary  J.  Morgan  Collection. 

“ Les  epreuves  de  ce  deuxieme  etat  sont  rares.” — Ch.  Blanc,  Vol.  I.,  p.  302. 

297 — The  Pancake  Woman 

Ch.  Blanc,  No.  93.  Bartsch,  No.  124.  Claussin,  No.  126.  Wilson,  No.  128.  Sec- 

ond state  (of  four).  A fine  impression.  In  perfect  condition. 

298 —  - The  Game  of  Golf 

Ch.  Blanc,  No.  97.  Bartsch,  No.  125.  Claussin,  No.  127.  Wilson,  No.  129.  Sec- 

ond state.  In  excellent  condition. 

299 — The  Card  Player 

Ch.  Blanc,  No.  104.  Bartsch,  No.  136.  Claussin,  No.  136.  Wilson,  No.  137.  Third 

state.  In  excellent  condition. 

“ Cette  jolie  piece.” — Ch.  Blanc. 

300 — A Philosopher  in  Meditation 

Ch.  Blanc,  No.  112.  Bartsch,  No.  148.  Claussin,  No.  145.  Wilson,  No.  146. 
Fifth  state  (of  six).  A fine  impression.  In  perfect  condition.  From  the  collections 
of  William  Sharp  and  Mary  J.  Morgan. 

301 — Beggars  at  the  Door  of  a House 

Ch.  Blanc,  No.  146.  Bartsch,  No.  176.  Claussin,  No.  173.  Wilson,  No.  173.  Third 

state. 

“ Ce  morceau  est  un  des  plus  beaux  de  F oeuvre.” — Ch.  Blanc,  Vol.  I.,  p.  384. 

302 — An  Academical  Figure  of  a Man  Seated  on  the  Ground 

Ch.  Blanc,  No.  160.  Bartsch,  No.  196.  Claussin,  No.  193.  Wilson,  No.  193.  Ex- 
cellent impression.  In  perfect  condition. 


53 


303 — A Woman,  Seated,  with  Her  Feet  in  the  Water 

Ch.  Blanc,  No.  164.  Bartsch,  No.  200.  Claussin,  No.  197.  Wilson,  No.  197. 


304 — Portrait  of  Lieven  Coppenol  (“  The  Great  Coppenol  ”) 

Ch.  Blanc,  No.  175.  Bartsch,  No.  283.  Claussin,  No.  280.  Wilson,  No.  285.  Fifth 
state.  The  plate  reduced  in  size. 

“ La  tete  du  grand  Coppenol  est  seule  bien  traitee,  elle  est  vivante.” — Ch.  Blanc, 
Vol.  II.,  p.  58. 

*305 — Uytenbogaert : The  Gold-weigher 

Ch.  Blanc,  No.  189.  Bartsch,  No.  281.  Claussin,  No.  278.  Wilson,  No.  283.  Third 
state. 

Also 

Copy  in  reverse 

By  Van  Bruges.  Two  pieces. 

306 — Portrait  of  Johannes  Uytenbogaert 

Ch.  Blanc,  No.  190.  Bartsch,  No.  276.  Claussin,  No.  277.  Wilson,  No.  282. 
Fourth  state.  Fine  impression.  In  perfect  condition.  With  full  margins.  One  of 
Rembrandt’s  finest  portraits.  Rare. 

307 —  Portrait  of  Rembrandt  with  a Round  Hat  and  an  Embroidered 

Mantle 

Ch.  Blanc,  No.  21 1.  Bartsch,  No.  7.  Claussin,  No.  7.  Wilson,  No.  7.  Ninth 
state  (of  ten).  Fine  impression.  From  the  St.  John  Dent  and  Mary  J.  Morgan  Col- 
lections. 

308 — Portrait  of  Rembrandt  Laughing 

Ch.  Blanc,  No.  218.  Bartsch,  No.  316.  Claussin,  No.  29.  Wilson,  No.  29.  Third 
state.  Good  impression.  With  margin.  From  the  Mary  J.  Morgan  Collection. 

309 — Portrait  of  Rembrandt  Drawing 

Ch.  Blanc,  No.  235.  Bartsch,  No.  22.  Claussin,  No.  22.  Wilson,  No.  22.  Ninth 
state.  In  excellent  condition. 

“ Un  des  plus  beaux  portraits  du  maitre.” — Ch.  Blanc,  Vol.  II.,  p.  191. 

310 — Head  of  a Bald-headed  Man,  Facing  towards  the  Right 

Ch.  Blanc,  No.  272.  Bartsch,  No.  292.  Claussin,  No.  289.  Wilson,  No.  294. 
Third  state.  Fine  impression.  In  perfect  condition.  Extremely  rare. 


54 


311- 


Old  Man  with  a Beard  and  Curly  Hair 

Ch.  Blanc,  No.  277.  Bartsch,  No.  297.  Claussin,  No.  293.  Wilson,  No.  297.  Fine 
impression.  In  perfect  condition.  From  the  Mary  J.  Morgan  Collection. 

“ Tres  bien  grave.  Extremement  rare.” — Ch.  Blanc. 

312 — The  Grotto 

Ch.  Blanc,  No.  331.  Bartsch,  No.  231.  Claussin,  No.  228.  Wilson,  No.  228. 
Third  state.  Fine  impression.  In  perfect  condition.  From  the  Mary  J.  Morgan  Col- 
lection. 

313 — Four  Photographs,  mounted,  of  the  following  subjects: 

The  Resurrection  of  Lazarus  (the  larger  plate) 

Christ  Presented  to  the  People 

The  Descent  from  the  Cross  (the  large  plate) 

The  Death  of  the  Virgin 

Portrait  of  Lieven  Coppenol  (Ch.  Blanc,  No.  175) 

Five  pieces.  One  lot. 

314 — Four  Photographs,  mounted,  of  the  following  subjects: 

The  Annunciation  to  the  Shepherds 
The  Thatched  Cottage  with  a Hay-barn 
The  Mill 

The  Seller  of  Rat  Poison 

Four  pieces.  One  lot. 

315 —  L’CEuvre  de  Rembrandt,  Decrit  et  Commentepar  M.  Charles  Blanc 

Membre  de  lTnstitut,  Directeur  des  Beaux-Arts.  Catalogue  Raisonne  de  toutes 
les  Estampes  du  Maitre  et  de  ses  Peintures,  orne  de  bois  gravees,  de  quarantes  eaux- 
fortes  de  Flameng,  et  de  Trente-cinq  Heliogravures  d’Amand-Durand.  Paris.  A. 
Levy.  1873.  Large  paper  copy.  Two  volumes,  in  the  original  binding,  but  with 
back  of  Volume  I.  broken. 

This  catalogue,  besides  bein£  a standard  work  of  reference  and  very  interesting 
reading,  on  account  of  the  full  and  scholarly  annotations,  is  noteworthy  on  account 
of  the  wonderful  copies  executed  by  Flameng,  including  the  famous  “ Christ  Healing 
the  Sick.”  A very  fine  impression  is  in  Volume  II.  of  this  set. 


55 


3i6— 


CEuvre  de  Rembrandt 

Reproduit  et  publie  par  Amand-Durand. 

One  hundred  and  fifty-one  reproductions.  Printed  upon  Holland  paper.  In  a 
portfolio.  All  are  bright,  original  impressions,  and  all  are  in  perfect  condition.  An 
unusually  fine  lot. 

317 — Amand-Durand  Reproductions  of 

The  Three  Trees 
Jan  Lutma 

Two  pieces.  One  lot. 


REYNOLDS,  SAMUEL  WILLIAM 

Born  in  London  in  1773;  died  there  in  1835.  He  engraved  in  mezzotint  more  than 
three  hundred  plates  after  portraits  and  compositions  by  Sir  Joshua  Reynolds.  Samuel 
Cousins  was  his  pupil. 

318 — John  Kemble  as  Cato  (After  Sir  Thomas  Lawrence) 

An  impression  of  the  issue  of  1853. 

319 — Raphael  and  Fornarina  (After  Sebastian  del  Piombo) 

Fine,  open  letter  proof.  . In  perfect  condition.  Full  margin. 

* 320 — Lady  Cockburn  and  Her  Children  (After  Sir  Joshua  Reynolds) 
Venus  Chiding  Cupid  (After  Sir  Joshua  Reynolds) 

Thais  (After  Sir  Joshua  Reynolds) 

Fine,  open  letter  proofs,  in  perfect  condition.  Full  margins.  Three  pieces.  One 
lot.  \ 

RHODES,  RICHARD 

Born  in  1765;  died  in  London  in  1838.  A pupil  of  Heath. 

321 — Four  Subjects  (After  Metzu  and  Netcher),  on  one  sheet 

Proof  on  India  paper. 

Also 

Ten  Other  Subjects  (upon  two  sheets,  after  various  Dutch  Masters) 

Proofs  on  India  paper.  One  lot. 

56 


RICHOMME,  JOSEPH  THEODORE 

Born  at  Paris  in  1785;  died  in  1849.  A pupil  of  Regnault  and  of  Coiny.  His  works 
rank  with  those  of  the  best  modern  engravers. 

322 — La  Vierge  de  Lorette  (After  Raphael) 

Fine  original  impression.  With  the  stamp  of  the  engraver  in  the  lower  right  hand 
corner. 

323 — The  Triumph  of  Galatea  (After  Raphael) 

Beautiful  impression,  on  India  paper.  Full  margins.  In  perfect  condition.  This 
is  one  of  Richomme’s  most  highly  esteemed  plates.  Impressions  of  this  quality  are 
scarce. 


ROSASPINA,  FRANCESCO 

Born  at  Rimini  in  1762;  died  at  Bologna  in  1842.  His  style  is  influenced  by  the 
engravings  of  Raphael  Morghen,  Volpato,  and  Bartolozzi. 

324 —  The  Dance  of  Cupids,  with  the  Rape  of  Proserpina  (After  Albano) 

The  original  painting  is  in  the  Gallery  of  the  Brera,  in  Milan.  A good  impression, 
but  lower  margin  trimmed  so  as  to  show  only  the  names  of  the  painter  and  engraver. 

325 — Saint  John  the  Evangelist  (After  Correggio) 

Very  fine  proof  before  all  letters.  In  perfect  condition. 

326 — The  Birth  of  the  Virgin  (After  Albano) 

Portrait  of  Marc-Antonio  Raimondi  (After  Raphael) 

Two  pieces.  One  lot. 

RUYSDAEL,  JACOB 

Born  in  Haarlem  in  1635;  died  there  in  1681.  His  etchings  number  seven  plates 
only. 

“ Ruysdael  has  an  immense  fame  amongst  connoisseurs.” — P.  G.  Hamerton. 

327 — The  Little  Bridge 

“ This  is  one  of  Ruysdael’s  important  plates.” — P.  G.  Hamerton. 

Has  been  pasted  down. 

57 


328— 


The  Great  Oak  by  the  River 

Has  been  pasted  down. 


RYDER,  THOMAS 

Born  at  London  in  1746.  His  plates,  after  Stothard,  Smirke,  and  Angelica  Kauff- 
man, engraved  in  stipple,  are  of  real  merit. 

329 — Vortigern  and  Rowena  (After  Angelica  Kauffman) 

Open  letter  proof.  In  excellent  condition.  A fine  impression.  With  margin. 


RYLAND,  WILLIAM  WYNNE 

Born  in  London  in  1732.  Hanged  for  forgery  in  1783.  He  is  said  to  have  intro- 
duced the  stipple  manner  of  engraving  into  England,  and  his  plates  engraved  in  this 
style  are  among  the  finest  ever  executed. 

* 330 — Achilles  Taking  Leave  of  His  Mother  (After  Angelica  Kauffman) 

Beautiful  proof  before  letters.  In  perfect  condition.  Printed  in  red.  Full  mar- 
gins. An  unusually  fine  and  beautiful  impression. 

* 331 — The  Judgment  of  Paris 

Venus  on  Her  Car 

A pair.  After  Angelica  Kauffman.  In  good  condition.  Printed  in  brown. 


SADELER,  JOHAN 

Born  at  Brussels  about  1550;  died  at  Venice  in  1610. 

332 —  “ Suffer  little  children  to  come  unto  me  ” (After  Jodocus  a Winge) 

Engraved  in  1588.  Good  impression.  In  excellent  condition. 

333 — The  Entombment 

The  Circumcision  (After  Martin  de  Vos) 

Two  pieces.  One  lot. 

58 


334- 


SAGERT,  H. 

A Wayside  Shrine  (After  Meyer  von  Bremen) 

Proof  before  letters. 

Also 

A Little  Rogue 

By  Benedetti.  After  Waldmiiller. 

Children  Leaving  School 

By  Benedetti.  After  Waldmiiller. 

Three  pieces.  One  lot. 

SCHIAVONETTI,  LUIGI 

Born  at  Bassano  in  1765;  died  at  London  in  1810.  A pupil  of  Bartolozzi. 

335 — The  Cartoon  of  Pisa  (After  Michel-Angelo) 

Open  letter  proof.  Good  impression,  but  mounted. 


SCHIRMER,  JOHANN  WILHELM 

Born  at  Jiilich  in  1807;  died  in  1863. 

336 — Landscape  with  a Rill  (From  his  own  design) 

337 — Landscape  with  a Pond  and  Swans  (After  his  own  design) 

SCHLEICH,  ADRIAN 

338 — The  Song  of  the  Bell  (After  Christoph  Nilson) 

also 

A Combat  Between  Saxons  and  Franks 
The  Shrine  in  the  Woods 
Ravin  dans  le  Cantal  (By  Leroy) 

The  Enchanted  Wood 

Five  pieces.  One  lot. 

59 


339 — The  Song  of  the  Bell  (After  Christoph  Nilson) 

also 

Two  Scenes  from  “ Faust  ” (After  Seibertz) 

’ The  Return  (After  Schwind) 

Two  Scenes  from  Folk-tales 

Five  pieces.  One  lot. 

340 — The  Song  of  the  Bell  (After  Christoph  Nilson) 

also 

Das  Trawinde  Koenigspaar  (After  Lessing) 

Egmont  und  Clarchen  (After  Kaulbach) 

Famine  (After  Kaulbach) 

Les  Femmes  Souliotes  (After  Scheffer) 

Five  pieces.  One  lot. 

SCHMIDT,  GEORG  FRIEDRICH 

Born  at  Berlin  in  1712.  At  an  early  age  he  went  to  Paris,  where  he  became  a pupil 
of  Nicolas  de  Larmessin.  In  1742  he  became  a member  of  the  Academy  at  Paris, 
and  in  1744  returned  to  Berlin,  where  he  was  appointed  Engraver  to  the  King.  In 
1757,  at  the  invitation  of  the  Empress  Elizabeth,  he  went  to  St.  Petersburg,  returning 
to  Berlin  in  1762,  and  dying  there  in  1775. 

“ The  productions  of  Schmidt  show  ability,  originality,  and  variety.  . . . His 

numerous  portraits  are  excellent,  being  free  and  life-like,  while  the  accessories  of 
embroidery  and  drapery  are  rendered  with  effect.” — “ The  Best  Portraits  in  En- 
graving.” 

341 — Pierre  Mignard  (After  Rigaud) 

Jacobi,  No.  59.  Second  state.  With  the  asterisk  in  the  lower  margin.  This  en- 
graving is  usually  considered  to  be  Schmidt’s  masterpiece. 

SCHONGAUER,  MARTIN 

Born  at  Colmar  about  1445;  died  there  1499.  Schongauer  may  be  considered  as  the 
father  of  the  German  school  of  engraving,  and  although  his  works  exhibit,  at  times, 
a certain  Gothic  stiffness  in  the  drapery  and  the  attitudes  of  the  figures,  this  is  more 
than  atoned  for  by  the  sweetness  of  expression  in  the  faces,  and  by  the  richness  of 
imagination  and  invention  displayed  in  many  of  his  plates. 

342 — The  Nativity 

Bartsch,  No.  4.  An  unusually  fine  impression.  In  perfect  condition.  Extremely 
rare. 

60 


343 — Going  to  Market 

Bartsch,  No.  88.  A brilliant,  original  impression.  In  perfect  condition.  This 
print  is  extremely  rare,  especially  in  such  fine  condition. 

344 —  Ten  Photographs  and  One  Amand-Durand  Reproduction  of  En- 

gravings by  Schongauer 

Various  subjects.  Eleven  pieces.  One  lot. 

SCHULZE,  CHRISTIAN  GOTTFRIED 

Born  at  Dresden  in  1750;  #died  there  in  1819.  A pupil  of  Wille. 

345 — The  Reading  Magdalen  (After  Battoni) 

Engraved  in  1810.  Lower  margin  torn,  but  neatly  mended. 


SEMLER,  A. 

A pupil  of  Steinla. 

346 — Madonna  and  Child,  of  the  Dresden  Gallery  (After  Murillo) 

Fine  proof  before  all  letters.  On  India  paper.  Full  margins. 


SHARP,  WILLIAM 

Born  in  London  in  1746;  died  there  in  1824.  A pupil  of  Benjamin  West  and  of  the 
engraver  Bartolozzi. 

“ He  ascended  to  the  heights  of  art,  showing  a power  rarely  equalled;  his  works 
are  constant  in  character  and  expression,  with  every  possible  excellence  of  execution; 
face,  form,  and  drapery — all  are  as  in  nature.” — Charles  Sumner,  “ The  Best  Portraits 
in  Engraving.” 

* 347 — The  Angel  Destroying  the  Assyrian  Camp  (2  Kings,  xix.  35) 

(After  J.  P.  de  Loutherbourg,  R.A.) 

Baker,  No.  1.  First  state  (of  three).  Proof  before  all  letters.  Fine. 

* 348 — Infant  Christ  (After  Annibal  Caracci) 

Baker,  No.  4.  Fine  impression.  Full  margin. 

* 349 — The  Virgin  and  the  Infant  Saviour  (After  Carlo  Dolci) 

Baker,  No.  5.  Fine.  Full  margins. 

61 


* 35° — Mary  Magdalen  (After  Guido  Reni) 

Baker,  No.  12.  Fine  impression,  on  India  paper.  Full  margins. 


* 351 — Diogenes  in  Search  of  an  Honest  Man  (After  Salvator  Rosa) 

Baker,  No.  27.  Third  state  (of  five).  Very  fine  proof  before  title  and  before 
painter’s  name.  Full  margin.  One  of  Sharp’s  finest  plates. 

* 352 — Portrait  of  Richard  Porson  (After  Hopprjer) 

Baker,  No.  35.  Proof  before  title,  with  names  of  the  artists  in  traced  letters  only. 
Fine.  Full  margin. 

* 353 — King  Charles  I.  (After  Van  Dyck) 

Baker,  No.  38.  Fine  impression,  on  India  paper.  Full  margin.  Van  Dyck  painted 
this  picture,  giving  three  views  of  King  Charles’  face,  to  assist  Bernini  in  making  his 
bust  of  the  King. 

* 354 — Portrait  of  Thomas  Howard,  Earl  of  Arundel  (After  Van  Dyck) 

Baker,  No.  39.  Fine.  Full  margins. 

Portrait  of  Filmer  Honywood,  M.P. 

Baker,  No.  50.  Margin  has  been  trimmed.  Two  pieces.  One  lot. 

* 355 — Portrait  of  Thomas  Paine  (After  Romney) 

Baker,  No.  61.  Open  letter  proof.  Fine.  Full  margins. 


SIEDENTOPF,  C. 

356 — Venus  Sleeping  (After  Titian) 

Fine  impression.  In  perfect  condition.'  Full  margins. 


SIXDENIERS,  ALEXANDRE  VINCENT 

Born  in  Paris  in  1795;  died  there  in  1846. 

357 — Honneurs  Rendus  a Raphael  aprfcs  sa  Mort  (After  Bergeret) 


Fine  original  impression.  In  excellent  condition. 
62 


SKELTON,  WILLIAM 

Born  in  London  in  1763;  died  there  in  1848.  Pupil  of  James  Basire  and  of  William 
Sharp. 

358 — Portrait  of  David  Garrick  (After  Pine) 

Fine  open  letter  proof,  on  India  paper.  Engraved  in  1818. 

SMILLIE,  JAMES 

Born  in  Edinburgh,  November  23,  1807.  In  1820  came  to  America  and  settled  in 
Quebec.  In  1829  he  removed  to  New  York. 

359 — The  Voyage  of  Life  (After  Thomas  Cole) 

(a)  Childhood 

(b)  Youth 

(c)  Manhood 

(d)  Old  Age 

Beautiful  proofs,  on  India  paper,  before  all  letters.  A set  of  such  fine  quality  is 
very  rarely  to  be  met  with.  In  perfect  condition.  Four  pieces.  One  lot. 

360 — Dover  Plains  (After  Durand) 

Fine  impression,  on  India  paper.  Full  margins. 

SMITH,  ANKER 

Born  at  London  in  1759;  died  there  in  1819.  A pupil  of  Taylor,  James  Heath,  and 
Bartolozzi. 

361 — Sophonisba  (After  Titian) 

Fine  impression.  On  India  paper. 

Also 

Venus 

Engraved  by  Pound.  After  Titian. 

Raphael  and  His  Mistress 

Engraved  by  Delaistre.  After  Deveria. 


Venus  Reclining  (After  Titian) 

Four  pieces.  One  lot. 

63 


SMITH,  JOHN  RAPHAEL 

Born  in  1752;  died  in  1812.  Eminent  as  a mezzotint  engraver. 


362 — Portraits  of  Francesco  Bartolozzi,  Agostino  Carlini,  and  G.  B.  Ci- 
priani (After  Giovanni  Rigaud) 

Engraved  in  ,1778.  A good  impression.  Signs  of  mildew  in  the  margins. 


SMITH,  SAMUEL 

Born  at  London  in  1745;  died  there  in  1808. 

* 363 — Niobe  (After  Richard  Wilson) 

Engraved  from  the  painting  in  the  Vernon  Gallery.  The  figures  were  engraved  by 
Sharp.  Beautiful  proof  before  all  letters,  but  with  Smith’s  name  and  the  date  1788 
lightly  etched  in  the  lower  right  hand  corner.  Fine  and  rare. 

Also 

Landscape  with  Waterfall  (After  Ruysdael) 

Fair  impression.  Torn  and  mended.  Two  pieces. 


STADLER,  FRANS  VON 

364 — La  Vierge  aux  Anges  (After  Titian) 

Published  by  the  North  American  Bibl.  Institution. 


STEINLA,  MORITZ 

His  family  name  was  Muller,  but  to  distinguish  himself  from  numerous  contempo- 
rary artists  of  this  name  he  called  himself  after  his  birthplace,  Steinla,  near  Hildes- 
heim  in  Hanover,  where  he  was  born  in  1791.  He  died  at  Dresden  in  1858.  A pupil 
of  Morghen  and  of  Longhi. 

365 — The  Madonna  of  the  Burgomaster  Meyer  (After  Holbein) 

Engraved  in  1841.  One  of  Steinla’s  best  plates.  Fine  original  impression.  Full 
margins. 

366 — The  Massacre  of  the  Innocents  (After  Raphael) 

Fine  impression.  In  excellent  condition. 

64 


STELLA,  ANTOINETTE  BOUZONNET 

Her  family  name  was  Bouzonnet,  but  she  is  usually  known  as  Antoinette  Stella. 
A sister  of  Antoine  and  Claudine  Bouzonnet.  Born  at  Lyons  in  1637. 

“ Her  prints  possess  considerable  merit.  . . . Her  drawing  is  generally  correct 

and  full  of  taste.” 

367  The  Entry  of  the  Emperor  Sigismond  into  Mantua  (After  Giulio 

Romano) 

The  complete  series  of  twenty-one  plates.  All  in  excellent  condition. 


STOCKS,  LUMB 

368 — The  Ten  Virgins  (After  Lauder) 

Original  impression.  Issued  in  1846.  The  surface  of  the  print  has  been  slightly 
scratched  in  a few  places.  Otherwise  a good  impression. 


STRANGE,  SIR  ROBERT 

Born  in  one  of  the  Orkney  Islands  in  1723;  died  in  London  in  1792. 

“ Strange  had  a style  of  his  own — rich,  soft,  and  peculiarly  adapted  to  the  render- 
ing of  flesh-tints.  He  has  engraved  more  than  fifty  important  plates,  chiefly  after  the 
great  Italian  masters.  All  of  his  works  are  highly  esteemed  by  connoisseurs.” — “ The 
Golden  Age  of  Engraving.” 

Note. — All  of  the  engravings  by  Sir  Robert  Strange,  here  catalogued,  are  fine  im- 
pressions, in  perfect  condition,  and  with  full  margins  as  originally  issued.  In  every 
case  the  engraved  title  is  below.  Sir  Robert  Strange,  it  is  said,  never  printed  an 
edition  of  proofs  before  letters.  When  a proof  was  definitely  ordered  from  him,  in 
advance,  he  printed  it,  but  otherwise  he  had  the  title  engraved  in  every  one  of  his 
plates. 

* 369 — Abraham  Dismissing  Hagar  (After  Guercino) 

Le  Blanc,  No.  1. 

* 370 — Esther  Before  Ahasuerus  (After  Guercino) 

Le  Blanc,  No.  2. 

* 371 — Joseph  and  Potiphar’s  Wife  (After  Guido  Reni) 

Le  Blanc,  No.  3. 


372 — The  Virgin  Mary,  Her  Hands  Crossed  on  Her  Bosom  (After  Guido 

Reni) 

Le  Blanc,  No.  4. 

* 373 — The  Angel  of  the  Annunciation  (After  Guido  Reni) 

Le  Blanc,  No.  5. 

374 —  The  Annunciation.  The  Angel  Gabriel  in  the  Dress  of  a Carmelite 

(After  Guido  Reni) 

Le  Blanc,  No.  6. 

375 —  Madonna  of  St.  Jerome.  “II  Giorno  ” : “The  Day”  (After  Cor- 

reggio) 

Le  Blanc,  No.  7.  One  of  Strange’s  finest  plates. 

* 376 — The  Offspring  of  Love  (After  Guido  Reni) 

Le  Blanc,  No.  8. 

* 377 — “ Parce  Somnum  Rumpere.”  The  Infant  Jesus  Sleeping  (After 

Carlo  Maratti) 

Le  Blanc,  No.  9. 

* 378 — The  Infant  Jesus  as  the  Good  Shepherd,  Twisting  a Crown  of 

Thorns  (After  Murillo) 

Le  Blanc,  No.  10. 

* 379 — Christ  Appearing  to  His  Mother  (After  Guercino) 

Le  Blanc,  No.  12. 

* 380 — Saint  Agnes  (After  Domenichino) 

Le  Blanc,  No.  13. 

* 381 — Saint  Cecilia  (After  Raphael) 

Le  Blanc,  No.  14. 

* 382 — Saint  Cecilia  (After  Carlo  Maratti) 

Le  Blanc,  No.  15. 

* 383 — Mary  Magdalen,  Standing,  Taking  the  Pearls  Out  of  Her  Hair 

(After  Guido  Reni) 

Le  Blanc.  No.  16. 

66 


* 384 — Mary  Magdalen  Seated  in  a Grotto  (After  Guido  Reni) 

Le  Blanc,  No.  17. 

* 385 — Mary  Magdalen  Reading  (After  Correggio) 

Le  Blanc,  No.  18. 

* 386— Dido  Stabbing  Herself  on  the  Funeral  Pile  (After  Guercino) 

Le  Blanc,  No.  20.  This  impression  is  in  a state,  undescribed  by  Le  Blanc.  It  is 
before  the  words:  “Ad  exemplar  Tabulae,  a Jo.  Franc.  Barbieri.  . . .”  etc.,  etc., 

below  the  quotation  from  the  ^Eneid. 

* 387 — The  Finding  of  Romulus  and  Remus  (After  Pietro  da  Cortona) 

Le  Blanc,  No.  21. 

* 388 — Cleopatra,  Seated  (After  Guido  Reni) 

Le  Blanc,  No.  22. 

* 38*9 — Cleopatra,  Standing  (After  Guido  Reni) 

Le  Blanc,  No.  23. 

* 390 — Caesar,  Putting  Away  Pompeia,  Receives  Calpurnia  as  His  Wife 

(After  Pietro  da  Cortona) 

Le  Blanc,  No.  24. 

* 391 — Belisarius  (After  Salvator  Rosa) 

Le  Blanc,  No.  25. 

* 392 — Apollo  Rewarding  Merit  and  Punishing  Arrogance  (After  Andrea 

Sacchi) 

Le  Blanc,  No.  26. 

* 393 — Venus  (After  Titian) 

Le  Blanc,  No.  27. 

* 394 — Venus  Blindfolding  Cupid  (After  Titian) 

Le  Blanc,  No.  28. 

* 395 — Venus  and  Adonis  (After  Titian) 

Le  Blanc,  No.  29. 

67 


*396— 

Venus  Attired  by  the  Graces  (After  Guido  Reni) 
Le  Blanc,  No.  30. 

* 397 — 

Cupid  Sleeping  (After  Guido  Reni) 

Le  Blanc,  No.  31. 

* 398 — 

Cupid  Seated  (After  Schidone) 

Le  Blanc,  No.  32. 

*399— 

Cupid  Standing  (After  Carle  Vanloo) 

Le  Blanc,  No.  33. 

* 400 — 

The  Judgment  of  Hercules  (After  Nicolas  Poussin) 
Le  Blanc,  No.  34. 

* 401 — 

Danae  (After  Titian) 

Le  Blanc,  No.  35. 

* 402 — 

Justice  (After  Raphael) 

Le  Blanc,  No.  38. 

*4<>3— 

Meekness  (After  Raphael) 

Le  Blanc,  No.  39. 

*404— 

Liberality  and  Modesty  (After  Guido  Reni) 

Le  Blanc,  No.  40. 

*405— 

Fortune  (After  Guido  Reni) 

Le  Blanc,  No.  41. 

* 406 — 

The  Horn  Book  (After  Schidone) 

Le  Blanc,  No.  42. 

*407— 

Return  from  Market  (After  Wouwermans) 

Le  Blanc,  No.  43. 

408 — King  Charles  I.,  Standing,  and  the  Duke  of  Hamilton  (After  Van 

Dyck) 

Le  Blanc,  No.  45. 

* 409 — King  Charles  I.,  Standing,  in  His  Royal  Robes  (After  Van  Dyck) 

Le  Blanc,  No.  46. 


* 410 — Henrietta  Maria,  Queen  of  Charles  I.,  with  Her  Two  Sons  (After 

Van  Dyck) 

Le  Blanc,  No.  48. 

*411 — Charles,  Prince  of  Wales;  James,  Duke  of  York;  and  Princess 
Mary,  Children  of  King  Charles  I.  (After  Van  Dyck) 

Le  Blanc,  No.  49. 

* 412 — Apotheosis  of  Octavius  and  Alfred,  Princes  of  England  (After 

Benjamin  West) 

Le  Blanc,  No.  50. 

* 413 — Sappho  (After  Carlo  Dolci) 

Le  Blanc,  No.  53. 

* 414 — Raphael  (After  Raphael) 

Le  Blanc,  No.  54. 

*415 — “ Parmigiani  Arnica  ” (After  Parmigiano) 

Le  Blanc,  No.  55. 

416 — Portrait  of  Sir  Robert  Strange  (After  Greuze) 

Le  Blanc,  No.  62. 


417 — Danae  (After  Titian) 

Le  Blanc,  No.  35.  A fine  impression,  but  trimmed  to  plate  mark. 

Liberality  and  Modesty  (After  Guido  Reni) 

Le  Blanc,  No.  40.  Trimmed.  The  surface  rubbed  in  several  places. 

Return  from  Market  (After  Wouwermans) 

Le  Blanc,  No.  43.  A fine  impression,  but  with  part  of  inscription  in  lower  margin 
trimmed.  Three  pieces.  One  lot. 

418 —  Apotheosis  of  Octavius  and  Alfred,  Princes  of  England  (After  Ben- 

jamin West) 

Le  Blanc,  No.  50.  Beautiful  impression.  With  full,  margins.  A proof  before  all 
letters,  and  before  the  artists’  names.  Rare. 

69 


STUBBS,  GEORGE  TOWNLEY 


Born  in  1756;  died  in  1815.  A son  of  George  Stubbs,  R.A.  His  best  plates  are 
those  engraved,  in  mezzotint,  after  the  paintings  of  his  father. 

419 — Bulls  Fighting  (After  George  Stubbs,  R.A.) 

Horses  Fighting  (After  George  Stubbs,  R.A.) 

A pair.  Fine,  open  letter  proofs.  In  perfect  condition.  Published  in  1788.  Good 
impressions  of  the  English  mezzotints  of  this  period  are  now  exceedingly  difficult  to 
procure.  Two  pieces.  One  lot. 


SWANEVELT,  HERMAN  VAN 

Born  at  Woerden  in  1620;  died  at  Rome  in  1690.  He  was  first  instructed  by  Gerard 
Dow,  but  later  studied  in  Italy,  after  Claude  Lorraine. 

420 — The  Angel  Consoling  Hagar 

Bartsch,  No.  67.  From  his  own  design. 


TARDIEU,  JACQUES  NICOLAS 

Born  at  Paris  in  1718;  died  there  in  1795.  A pupil  of  his  father,  Nicolas  Henri 
Tardieu. 

421 — Robert  Le  Lorrain  (After  Nonnotte) 

Engraved  in  1749  for  his  reception  into  the  Academy.  In  excellent  condition. 


TARDIEU,  PIERRE  ALEXANDRE 

Born  at  Paris  in  1756;  died  there  in  1844.  A pupil  of  his  uncle,  J.  N.  Tardieu,  and 
more  especially  of  J.  G.  Wille. 

422 — The  Communion  of  Saint  Jerome  (After  Domenichino) 

Engraved  in  1821.  A good  impression.  With  full  margins.  This  is  usually  con- 
sidered the  finest  of  Tardieu’s  engravings,  and  good  impressions  are  scarce. 


70 


TAVERNIER 


423 — The  Bath  (After  Blondel) 

Fine  proof  before  all  letters,  with  the  artists’  names  only  lightly  traced  with  the 
needle.  In  perfect  condition. 

Also 

Daphnis  et  Chloe 

Engraved  by  Gellee,  after  Hersent. 

L’lnnocence 

Engraved  by  Bervic,  after  Merimee.  Three  pieces.  One  lot. 


THOMASSIN,  SIMON 

Born  at  Troyes  in  1652;  died  at  Paris  in  1732. 

424 — Retablissement  de  la  Navigation  (After  Le  Brun) 

Protection  Accordee  aux  Beaux-Arts  (After  Le  Brun) 

And  Eleven  Other  Pieces  (after  the  paintings  of  Le  Brun) 

Engraved  by  Preislier,  Aveline,  and  Le  Clerc.  Thirteen  pieces.  One  lot. 


THOMSON,  J. 

425 — George  Washington 

From  the  statue  by  Chantry.  Fine  impression,  on  India  paper.  Engraved  in  1826. 

Also 

Benjamin  West 

Engraved  by  Rolls,  after  Lawrence. 

J.  C.  Fremont 
Abraham  Lincoln 
J.  A.  Garfield 
Israel  Putnam 

and 

John  Paul  Jones 

Seven  pieces.  One  lot. 

7i 


TOFANELLI,  ANDREA 


426 — /Eneas  Crossing  the  River  (After  Elisabetta  Sirani) 

Engraved,  under  the  direction  of  Raphael  Morghen,  in  1807.  Good  original  im- 
pression. 

TOMBA,  GIULIO 

Born  at  Bologna  in  1780.  A pupil  of  Rosaspina. 

427 — Rosaspina’s  Zeichnungsschule  (After  Giani) 

also 

Les  Moissonneurs 

By  Denzler,  after  L.  Robert  and  four  others.  Six  pieces.  One  lot. 


TOSCHI,  PAOLO 

Designer  and  engraver.  Born  at  Parma  in  1788,  where  he  became  director  of  the 
Academy  of  Fine  Arts,  and  died  in  1858.  A pupil  of  Bervic. 

“ The  last  of  the  great  Italian  engravers  was  Paolo  Toschi,  pupil  of  Bervic,  who 
was  himself  a pupil  of  Wille.  It  remained  for  Toschi  to  discover  in  the  lovely  frescos 
of  Correggio,  at  Parma,  a mine  of  the  richest  ore,  which  his  predecessors  for  more 
than  three  centuries  had  scarcely  touched.  The  “ Madonna  della  Scala,”  the  “ Incoro- 
nata,”  and  the  pair  of  groups  of  cherubs  may  be  cited  as  examples  of  what  Toschi  has 
done  for  Correggio — and  for  Art.” — “ The  Golden  Age  of  Engraving.” 

CORREGGIO’S  FRESCOS  IN  THE  CAMERA  DI  SAN  PAOLO,  A 
ROOM  IN  THE  CONVENT  OF  BENEDICTINE  NUNS  IN 
PARMA 

428 —  The  Mantelpiece,  Showing  Diana  in  her  Chariot,  and  above,  Four  of 

the  Arcades  with  Oval  Lunettes,  with  Niches  below 

Remarque  proof  before  the  number  and  before  all  letters.  Very  fine.  Full  mar- 
gins. In  the  lower  margin  the  title  is  written  in  pencil.  The  writing  resembles  that 
of  Toschi. 

429 — Diana  in  a Chariot,  Returning  from  the  Chase 

Signed  artist’s  proof  before  the  number  and  before  letters,  with  only  the  artists’ 
names  slightly  traced  with  the  needle.  Superb  impression.  Full  margins. 


72 


430“ 


“ Camera  di  S.  Paolo.”  No.  3 


Two  Cupids  above;  below,  Fortuna,  with  a cornucopia,  a rudder,  and  a globe. 
Remarque  proof  before  the  number  and  before  all  letters.  On  India  paper.  Full 
margins.  A magnificent  impression.  On  the  lower  margin,  in  the  handwriting  of 

Toschi,  “ Prova  di  rimarca  scelta  da  Paolo  Toschi.”  Inside  the  plate  mark  is  the 

autograph  “ W.  C.  Macready.” 

431 — “ Camera  di  S.  Paolo.”  No.  7 

Two  children  above,  one  carrying  a stone  on  his  head;  below,  a youth,  pouring  a 
libation  on  the  altar.  Remarque  proof  before  the  number  and  before  all  letters.  On 
India  paper.  Full  margins.  A magnificent  impression.  Signed  “ Paolo  Toschi,” 
and  with  the  autograph  “ W.  C.  Macready.” 

432 — “ Camera  di  S.  Paolo.”  No.  n 

Two  children  above,  one  holding  a spear;  below,  a bearded  man,  seated  in  a chair. 
Remarque  proof  before  the  number  and  before  all  letters.  On  India  paper.  Full 
margins.  A magnificent  impression.  On  the  lower  margin,  in  the  handwriting  of 

Toschi,  “ Prova  di  ramarca  scelta  da  Paolo  Toschi.”  With  the  autograph  “ W.  C. 

Macready.” 

433 — “ Camera  di  S.  Paolo.”  No.  16 

Above,  two  children,  one  blowing  a horn;  below,  Pan  blowing  a conch-shell. 
Remarque  proof  before  the  number  and  before  all  letters.  On  India  paper.  Full 
margins.  A magnificent  impression.  Signed  “ Paolo  Toschi,”  and  with  the  autograph 
“ W.  C.  Macready.” 

434 — “ Camera  di  S.  Paolo.”  No.  8' 

Above,  two  children,  one  carrying  a mask;  below,  a woman  seated,  holding  a 
cornucopia  and  a scorpion.  Proof  before  the  number  and  before  letters,  with  the 
artists’  names  slightly  traced  with  the  neeedle.  A beautiful  impression.  Full  margins. 

\ 

435 —  “ Camera  di  S.  Paolo.”  Nos.  5,  6,  7,  8,  9,  10,  10,  n,  12,  13,  14,  15,  16 

Thirteen  pieces.  Nos.  7,  8,  9,  11,  13,  16  were  engraved  by  Toschi.  Nos.  5,  6,  io,  10, 
12,  14,  15  by  his  pupils.  All  are  with  letters  and  all  have  the  artists’  names  engraved  in 
the  lower  margin.  No.  7 is  signed  with  Toschi’s  initial.  No.  11  has  an  autograph 
inscription  written  upon  it  in  pencil.  These  thirteen  impressions  are  in  perfect  condi- 
tion. With  full  margins.  One  lot. 

436 —  Saint  Agatha  (After  the  fresco  of  Parmegiano  in  San  Giovanni) 

Proof  before  the  number  and  before  letters,  with  the  artists’  names  slightly  traced 
with  the  needle.  Beautiful  impression.  Full  margins. 

437 — Saint  Lucia  and  Saint  Apollonia  (After  Parmegiano) 

Signed  proof  before  the  number  and  before  letters.  With  the  artists’  names  slightly 
traced  with  the  needle.  Signed  “ Paolo  Toschi.”  Beautiful  impression.  Full  margins. 


73 


43^ — San  Giorgio  (After  Parmegiano) 

Lettered  impression.  Signed  with  Toschi’s  initial.  Full  margins.  In  perfect  con- 
dition. 

439 —  Cupola  di  S.  Giovanni : “ Secondo  Gruppo  di  Apostoli  ” and  “ Terzo 

Gruppo  di  Apostoli  ” 

After  Correggio’s  frescos  in  the  Church  of  San  Giovanni  Evangelista.  Lettered 
impressions.  Full  margins.  In  perfect  condition.  Two  pieces.  One  lot. 

440 — Cupola  di  S.  Giovanni : “ Gruppo  di  San  Giovanni  ” 

Commenced  by  Toschi,  finished  by  Raimondi.  Lettered  impression.  Upper  mar- 
gin slightly  torn. 

441 — San  Giovanni  Evangelista  e San  Agostino 

San  Matteo  Evangelista  e San  Gerolamo 
San  Marco  Evangelista  e San  Gregorio 

San  Luca  Evangelista  e San  Ambrogio 

Being  “ Primo,”  “ Secondo,”  “ Terzo,”  and  “ Quarto,”  “ pennacchio  della  cupola 
in  San  Giovanni,”  all  after  Correggio’s  frescos.  Lettered  impressions.  With  full 
margins.  In  perfect  condition.  Four  pieces.  One  lot. 

442 — Madonna  della  Scala  (After  Correggio) 

The  fresco  is  now  in  the  Gallery  of  the  Academy  at  Parma.  This  is  acknowledged 
to  be  the  most  beautiful  of  all  Toschi’s  engravings,  and  is  one  of  the  few  which  he 
engraved  throughout  entirely  with  his  own  hand  and  without  the  aid  of  any  of  his 
pupils.  A beautiful  impression,  with  the  artists’  names  only  traced  with  the  needle. 
In  perfect  condition.  With  full  margins. 

443 — The  Coronation  of  the  Virgin  (After  Correggio) 

Remarque  proof  before  all  letters.  A superb  impression.  With  full  margins. 

444 — The  Descent  from  the  Cross  (After  Daniello  da  Volterra) 

Remarque  proof.  With  the  white  square  on  the  ladder,  and  before  the  margins 
of  the  plate  were  cleaned.  Very  fine  impression,  on  India  paper. 

445 — Madonna  della  Scodella : Rest  on  the  Return  from  Egypt 

(After  Correggio) 

Lettered  impression.  In  perfect  condition.  Full  margins. 

74 


446 — La  Vergine  Assunta  (After  Correggio) 

Engraved  by  Toschi’s  pupil  Raimondi.  Lettered  impression.  Fine.  With  full 
margins. 

447 — Joannes  Evangelista  (After  Correggio) 

This  impression  was  given  by  Toschi  to  his  friend  the  engraver  Pietro  Anderloni. 
It  bears  an  autograph  dedication  in  the  handwriting  of  Toschi.  It  is  with  the  letters. 
In  fine  condition.  With  full  margins. 

Also 

SSa.  Annunziata  (After  Correggio) 

Remarque  proof  before  all  letters.  On  India  paper.  Fine.  With  full  margins. 
Two  pieces. 


TROUVAIN,  ANTOINE 

Born  at  Montdidier  in  1650;  died  at  Paris  in  1710. 

448 — Rene  Antoine  Houasse  (After  Tortebat) 

Engraved  in  1707  for  his  reception  into  the  Academy.  In  excellent  condition. 


TURNER,  CHARLES 

Born  at  Woodstock  in  1773.  Died  in  London  in  1857.  In  1828  he  was  elected  an 
associate  member  of  the  Royal  Academy.  One  of  the  most  eminent  mezzotint  en- 
gravers of  the  nineteenth  century. 

449 — Portrait  of  a Lady  Standing  by  a Vase  of  Flowers  (After  Monier) 

Engraved  in  1804.  Very  fine  proof  before  letters.  Beautiful  impression.  Full 
margins. 


TURNER,  J.  M.  W.  (ENGRAVINGS  AFTER) 

450 — The  Town  and  Castle  of  Heidelberg 

Engraved  by  Prior.  Fine  impression.  Full  margins.  Excellent  condition. 

451 — The  Town  and  Castle  of  Heidelberg 

Engraved  by  Prior.  Also  in  fine  condition. 

75 


452— 


The  Town  and  Castle  of  Heidelberg 

Engraved  by  Prior.  Also  in  fine  condition. 


453 — Venice 

Engraved  by  Willmore. 

454 — Ancient  Italy 

Engraved  by  Willmore 


455—  Cologne 

Engraved  by  Goodall.  Fine  proof  before  letters. 


456- 


Lake  Nemi 

Engraved  by  Wallis.  Fine  proof  before  letters.  On  India  paper. 


457- 


Ancient  Carthage 

Engraved  by  Wilson. 


458— 

Engraved  by  Willmore. 


Feteham  Park 

Fine  proof  before  all  letters.  On  India  paper. 


VAN  DYCK,  ANTONI 

Born  at  Antwerp  in  1599.  In  1615  he  entered  the  studio  of  Rubens  and  remained 
there  until  1621,  when  he  visited  England,  but  not  meeting  with  much  encouragement 
returned  to  Antwerp  in  the  following  year.  In  1630  he  again  visited  London,  and 
again  was  forced  to  return  to  Antwerp.  Two  years  later  Charles  I.,  seeing  one  of  Van 
Dyck’s  portraits,  realized  how  great  an  artist  had  left  his  kingdom,  and  therefore 
invited  him  to  return.  For  the  nine  years  following  Van  Dyck  was  the  most  popular 
painter  in  England,  and  lived  in  almost  royal  manner  until  his  death  in  1641. 

“ No  true  critic  can  be  indifferent  to  Van  Dyck.  He  was  one  of  the  great  princes 
of  the  art.  . . . He  had  all  the  great  qualities;  he  had  perfect  freedom  and  ex- 
quisite refinement.  . . . His  aims  were  few,  his  choice  of  means  instinctively  wise 
and  right,  his  command  of  them  absolute,  his  success  complete.” — P.  G.  Hamerton. 

459 — Por  of  Desiderius  Erasmus 

Carpenter,  No.  5.  Wibiral,  No.  5.  Fourth  state,  after  the  address  G.  H.  had  been 
effaced  from  the  plate.  Excellent  impression.  In  perfect  condition. 

“ Jamais  personne  n’a  si  bien  rendu  le  dessin  precis  et  serre  d’Holbein.” — “ Gazette 
des  Beaux-Arts,”  1875,  p.  264. 


76 


VASI,  GIUSEPPE 

Born  at  Corleone,  in  Sicily,  in  1710;  died  at  Rome  in  1782.  His  works  number 
several  hundred  plates.  Piranesi  was  his  pupil. 

460 — Eight  Engravings  of  Roman  Scenes 

All  are  in  poor  condition.  All  are  mounted  on  linen.  Some  duplicates. 


VELDE,  JAN  VAN  DE 

Born  at  Leyden  in  1598.  Died  in  1679.  A pupil  of  Moises  van  Uytenbroeck. 

461 —  A Series  of  Twelve  Landscapes,  Including  a Scene  of  Marketing 

The  complete  set.  Twelve  pieces.  One  lot. 

VENDRAMINI,  GIOVANNI 

Born  at  Roncade,  near  Bassano,  in  1769.  At  the  age  of  nineteen  he  came  to  Lon- 
don and  studied  with  Bartolozzi.  He  died  in  London  in  1839. 

462 — The  Raising  of  Lazarus 

After  the  painting  by  Sebastiano  del  Piombo,  from  a drawing  furnished  by 
Michel-Angelo.  Engraved  in  1828.  Very  fine  original  impression.  In  perfect  con- 
dition. Full  margins. 

VERTUE,  GEORGE 

Born  at  London  in  1684;  died  there  in  1756. 

Note. — All  the  below-catalogued  portraits  by  Vertue  are  fine  impressions.  With 
full  margins. 

463 — Portrait  of  Francis  Beaumont 

464 — Portrait  of  Samuel  Butler  (After  Soest) 

465 — Portrait  of  Geoffrey  Chaucer 

466 — Portrait  of  Abraham  Cowley  (After  Sir  Peter  Lely) 

467 — Portrait  of  John  Fletcher 

468 — Portrait  of  John  Gower 

469 —  Portrait  of  Henry  Howard,  Earl  of  Surrey  (After  Hans  Holbein) 

470 — Portrait  of  Ben  Jonson  (After  Gerard  Honthorst) 

471 — Portrait  of  John  Milton 

472 — Portrait  of  Edmund  Spenser 


77 


VILLAMENA,  FRANCESCO 

Born  at  Assisi  about  1566;  died  at  Rome  in  1625.  A pupil  of  Cornelis  Cort. 


473 — Les  Gourmeurs,  or  Henri  IV.  Contre  la  Ligue 

Engraved  by  Villamena,  in  1601,  from  his  own  design.  Fine  impression.  In  ex- 
cellent condition.  Rare. 


VISSCHER,  CORNELIS 

Born  at  Amsterdam  (or  Haarlem)  in  1629(F);  died  in  1670(F).  He  was  a pupil  of 
Soutman,  but  formed  a style  of  his  own,  which,  especially  in  portraits,  is  unsurpassed 
in  boldness  and  picturesque  effect. 

474 — The  Strolling  Musicians  (After  Van  Ostade) 

Smith,  No.  80.  Second  state  (of  four).  With  the  names  of  the  artists,  but  before 
the  address  of  CL  de  Jonghe.  Fine  impression.  Rare. 

475 — The  Sleeping  Cat  (From  Visscher’s  own  design) 

Smith,  No.  46.  Good  impression,  but  pasted  down.  “ We  turn  with  a peculiar 
liking  to  his  less  pretentious  print  of  an  old  cat  taking  her  noonday  nap,  while  a gray 
old  veteran  of  the  rat-hole  steals  out  behind  her.  This  quaint  little  print  has  the  effect 
of  a familiar  family  portrait.” — “ The  Golden  Age  of  Engraving.” 


VISSCHER,  JAN 

Born  at  Amsterdam  in  1636;  died  about  1695.  A younger  brother  of  Cornelis 
Visscher.  Although  Jan  did  not  possess  the  genius  of  his  older  brother,  his  plates 
are  admirably  executed,  and  are,  as  a rule,  finely  finished. 

476 — Portrait  of  Pieter  Proelius  (After  Van  Noort) 

Nagler,  No.  4.  Second  state,  with  the  name  of  Nicolaus  Visscher  as  publisher. 

Also 

A Beggar 

Engraved  by  Pieter  Quast. 

The  Ferry 

Engraved  by  Jan  Visscher,  after  Van  Goyen.  Three  pieces.  One  lot. 

78 


VIVARES,  FRANCOIS 

Born  near  Montpellier  in  1709,  and  was  compelled  by  his  father,  a tailor,  to  follow 
the  paternal  calling  until  he  succeeded  in  getting  to  England,  where  he  placed  him- 
self under  the  tuition  of  J.  B.  Chatelain.  He  died  in  London  in  1782.  He  was  a con- 
temporary of  William  Woollett,  and  his  landscape  engravings  are  little  inferior  in 
beauty  to  those  engraved  by  Woollett  himself. 

477 — Moonrise  (After  Van  der  Neer) 

Engraved  in  1751.  Good  original  impression.  In  perfect  condition.  . 

478 — The  Temple  of  Apollo  (After  Claude  Lorraine) 


VOLKMAR,  CHARLES 

479 — Old  Mill  on  the  Paint  Branch,  Maryland 

Original  etching.  Executed  in  1859. 

Also 

Three  Other  Landscapes  by  Various  Artists 

Four  pieces.  One  lot. 

VOLPATO,  GIOVANNI 

Born  at  Bassano  in  1738;  died  at  Rome  in  1803.  A pupil  of  Joseph  Wagner,  at 
Venice. 

480 — The  Defeat  of  Attila  (After  Raphael) 

Passavant,  No.  107.  One  of  the  seven  plates  of  The  Stanze  in  the  Vatican.  Margin 
has  been  trimmed. 

WAGNER,  FRIEDRICH 

Born  at  Nuremberg  in  1803;  died  at  Munich  in  1876. 

481 — The  Last  Supper  (After  Leonardo  da  Vinci) 

Fine  proof,  with  the  title  in  traced  open  letters  only.  Slightly  torn  in  margin  on 
either  side.  A brilliant  impression. 


79 


WATERLOO,  ANTONI 


Born  about  1618,  near  Utrecht  or  Amsterdam;  died  at  Utrecht  about  1670.  Though 
his  paintings  are  prized,  his  greatest  claim  to  consideration  is  as  an  etcher.  He  exe- 
cuted 136  of  landscape  subjects,  after  his  own  designs,  from  nature.  They  are  etched 
with  great  spirit  and  freedom,  in  a masterly  manner,  and  are  often  retouched  with  the 
graver  to  harmonize  the  lights  and  strengthen  the  shadows. 


482 — 

Le  Rocher  Perc6 

• 

Bartsch,  No.  3. 

483— 

L’Hermitage 

Bartsch,  No.  4. 

484— 

Le  Petit  Pont  du  Bois  Tortueux 

Bartsch,  No.  6. 

485— 

Le  Petit  Pont  du  Bois  Tortueux 

Bartsch,  No.  6. 

486— 

Les  Trois  Pecheurs  a la  Ligne  sur  le  Petit  Pont 

Bartsch,  No.  13. 

487— 

Le  Chariot  sur  le  Chemin  de  Schevelingue 

Bartsch,  No.  15. 

488— 

Le  Cimetifere  au  Bord  de  l’eau 

Bartsch,  No.  22. 

489— 

Le  Clocher  Pointu  du  Village  au  Bord  de  la  Mer 

Bartsch,  No.  24. 

490— 

Le  Vogageur  Passant  k Cote  de  Deux  Grands  Arbres 

Bartsch,  No.  27. 

491— 

La  Femme  sur  le  Petit  Pont  du  Bois 

Bartsch,  No.  34. 

492— 

Le  Troupeau  de  Moutons  Traversant  l’eau 

Bartsch,  No.  35. 

493— 

Les  Deux  Patres  au  Pied  de  l’Arbre 

Bartsch,  No.  37. 

80 

494— 


L'Homme  et  la  Femme  au  Pied  du  Chene 

Bartsch,  No.  41. 


495— 

496— 

497— 

498— 

499— 

500 — 

501— 

502 — 

503— 

504— 

505— 

506 — 


Le  Voyageur  Pres  du  Bois 

Bartsch,  No.  53. 

L'Entrde  du  Bois  Entouree  d’une  Haie 

Bartsch,  No.  55. 

L’Arbre  Cru  de  Biais 

Bartsch,  No.  58. 

L’Homme  et  la  Femme  Prfes  du  Petit  Pont 

Bartsch,  No.  59. 


L’Allee  au  Bois 

Bartsch,  No.  62. 

Le  Porte-faix 

Bartsch,  No.  65. 


Le  Chemin  Pr£s  du  Grand  Chene 

Bartsch,  No.  66. 

Les  Deux  Allees 

Bartsch,  No.  67. 

Le  Village  au  Bord  du  Canal 

Bartsch,  No.  91. 


Le  Village  Dans  la  Vallee 

'Bartsch,  No.  93. 

La  Paysanne  et  la  Fille  sur  le  Petit  Pont  de  Bois 

Bartsch,  No.  114. 

Apollon  et  Daphne 

Bartsch,  No.  126. 

81 


WEIROTTER,  FRANZ  EDMUND 

Born  at  Innspruck  in  1730;  died  at  Vienna  in  1771. 


507— 


A Rocky  Landscape 

Has  been  pasted  down. 


WEST,  BENJAMIN 

Born  in  Chester  County,  Pennsylvania,  in  1738;  died  in  London  in  1820.  On  the 
death  of  Sir  Joshua  Reynolds,  West  was  elected  president  of  the  Royal  Academy. 


Woman  with  Doves  (After  Caspar  Morsch) 

This  etching  is  rare. 


508— 


WILLE,  JOHANN  GEORG 


Born  near  Konigsberg  in  1717.  Established  himself  in  Paris,  where  he  became 
the  founder  of  an  important  school  of  engravers,  and  died,  after  many  vicissitudes  of 
fortune,  an  old  and  a poor  man  in  1808. 

“ His  neat  and  careful  style  was  adapted  to  pictures  of  the  school  of  Gerard  Dow, 
as  well  as  to  elaborate  portraits,  and  there  is  no  engraver  whose  works  are  more 
eagerly  sought  for  and  more  universally  admired.  . . . His  ‘ Satin  Gown  ’ and 
‘ The  Travelling  Musicians  ’ are  his  acknowledged  masterpieces,  but  not  less  worthy 
of  praise  are  ‘ The  Death  of  Marc  Antony,’  ‘ La  Liseuse,’  and  ‘ La  Devideuse.’  . . . 

‘ The  Family  Concert,’  and  the  small  pair  entitled  ‘ The  Good  Woman  of  Normandy  ’ 
and  her  ‘ Sister  ’ — two  ‘ magnificently  ugly  old  women.’  ” — “ The  Golden  Age  of 
Engraving.” 

509 —  Hagar  Presented  to  Abraham  by  Sarah  (After  Christian  Dietrich) 

Le  Blanc,  No.  1.  First  state,  before  the  arms  and  before  all  letters.  Very  fine 
and  very  rare. 

510 — The  Death  of  Marc  Antony  (After  Pompeo  Battoni) 

Le  Blanc,  No.  4.  First  state,  with  the  arms,  but  before  all  letters.  Rare.  Very 
fine  impression.  Full  margins. 

*511 — The  Family  Concert  (After  Schalken) 


Le  Blanc,  No.  54.  Second  state.  Full  margins. 


512 — Paternal  Instruction:  “ The  Satin  Gown  ” (After  Terburg) 


Le  Blanc,  No.  57.  Third  state. 


Les  Bons  Amis  (After  Adrien  van  Ostade) 

Le  Blanc,  No.  56.  Second  state. 

82 


5^4“ 


* 


* 


5i5“ 


Le  Jeune  Joueur  d’Instrument  (After  Schalken) 

Le  Blanc,  No.  57.  Third  state. 

Les  Soins  Maternels  (After  Pierre  Alexandre  Wille) 

Le  Blanc,  No.  59.  Fifth  state. 


* 516 — Tante  de  Gerard  Dow  (After  Gerard  Dow) 

Le  Blanc,  No.  60.  Fourth  state.  A fine  impression. 

517 — Bonne  Femme  de  Normandie 

Soeur  de  la  Bonne  Femme  de  Normandie  (After  Pierre  Alexandre  Wille) 

Le  Blanc,  Nos.  71-72.  Third  states.  Two  pieces.  One  lot. 

518 — Sapeur  des  Gardes  Suisses  (After  Wille’s  own  design) 

Le  Blanc,  No.  86.  Fourth  state.  Fine. 


519 —  Louis  Phelypeaux,  Comte  de  Saint  Florentin  (After  Jean  Louis 

Tocque) 

Le  Blanc,  No.  124.  Fourth  state. 

WOLFF,  A. 

520 — Seven  Etchings  of  Hunting  Scenes  and  of  Animals 

also 

One  Etching.  Scene  in  Italy 

By  C.  Trippel 

In  paper  wrapper.  As  issued.  Eight  pieces.  One  lot. 


WOLLETT,  WILLIAM 

Born  at  Maidstone,  Kent,  in  1735;  died  at  London  in  1785.  A pupil  of  John  Tinney 
and  Vivares.  He  formed  a style  of  his  own,  successfully  combining  the  use  of  aqua- 
fortis, the  dry-point,  and  the  burin,  and  produced  landscape  engravings  of  a perfection 
unknown  before  his  time.  His  plates  after  Richard  Wilson  and  Claude  Lorraine  have 
never  been  surpassed,  and  are  equalled  only  by  th6  superb  etchings  of  Claude  Lorraine 
himself. 

521 — Portrait  of  King  George  the  Third  (After  the  painting  by  Allan 

Ramsay) 

Fagan,  No.  52.  A fine  impression.  Full  margins. 

83 


522—  Celadon  and  Amelia  (After  the  painting  by  Richard  Wilson) 

Fagan,  No.  57.  Very  fine  impression  of  this  beautiful  plate. 

523 — The  Fishery  (After  the  painting  by  Richard  Wright) 

Fagan,  No.  61.  A good  original  impression.  Engraved  in  1764. 

524 —  The  Apple  Gatherers  (After  the  painting  by  George  Smith,  of 

Chichester) 

Fagan,  No.  62.  A good  impression.  No  margins.  Mounted  on  a card. 

525 —  Ceyx  and  Alcyone  (After  the  painting  by  Richard  Wilson) 

Fagan,  No.  65.  Third  state  (of  seven).  Proof  before  the  first  published  state, 
before  all  letters,  and  before  the  artists'  names.  A superb  impression.  Full  margins. 
Extremely  rare. 

526 — Death  of  Meleager  (After  the  painting  by  Richard  Wilson) 

Fagan,  No.  103.  Fourth  state  (of  eight).  Proof  before  the  first  published  state, 
with  the  artists’  names  in  traced  letters  only.  A superb  impression.  Full  margins. 
Rare  and  very  fine. 

527 —  Jacob  and  Laban.  “ II  Ponte  ” (After  the  painting  by  Claude 

Lorraine) 

Fagan,  No.  116.  First  state  (of  six).  The  etching.  Very  fine  and  exceedingly  rare. 
Beautiful  impression.  A slight  water  stain  in  the  lower  left-hand  corner.  An  impres- 
sion in  this  state,  and  of  such  fine  quality,  has  rarely  been  offered  for  sale  in  America. 

528 —  Dido  and  ./Eneas  (After  the  painting  by  Thomas  Jones  and  J. 

Hamilton  Mortimer) 

Fagan,  No.  117.  Second  state  (of  five).  With  the  crests  of  the  waves,  and  the 
high  lights  on  the  horses,  white.  Before  the  border  of  the  plate  was  cleaned.  Beauti- 
ful impression.  Very  rare  in  this  state. 

WORLIDGE,  THOMAS 

Born  at  Peterborough,  in  Northamptonshire,  in  1700;  died  at  Hammersmith  in  1766. 
A pupil  of  Grimaldi  and  L.  Boitard.  His  etchings  are  in  the  manner  of  Rembrandt. 

529 — Two  Portraits  of  Men  with  Fur  Caps 

530 — Portrait  of  a Young  Man  with  a Flat  Cap 

Portrait  of  a Man  with  a Square  Beard 

And  seven  other  pieces.  One  lot. 

84 


ETCHINGS  BY  MODERN  MASTERS 


ABBEMA,  W. 

531—  The  River  Bed 

The  House  in  the  Wood  (After  C.  F.  Lessing). 

Two  pieces.  One  lot. 

APPIAN,  ADOLPH 

Born  at  Lyons  in  1819.  A pupil,  in  painting,  o'f  Corot  and  Daubigny. 

“ My  admiration  tor  Appian’s  work  as  an  etcher  (he  is  a charming  painter  also) 
was  already  great  several  years  ago,  but  the  more  I see  how  rare  his  qualities  are  in 
contemporary  art,  or  in  any  art,  the  more  I feel  disposed  to  value  them.” — P.  G* 
Ham'erton. 

532—  An  Open  Stream 

“This  is  one  of  the  most  masterly  of  Appian’s  etchings The  sky  and 

distance  are  delightful  in  quality.” — P.  G.  Hamerton. 

Proof  on  Japanese  paper.  Fine. 

533 — The  Lake  in  the  Woods 

Proof  on  India  paper. 

BELLOWS,  A.  F. 

534 — The  Midstream 

Etched  by  Bellows,  after  his  own  painting.  Signed  artist’s  proof. 


BODMER,  K. 

535 — Six  Etchings  of  Various  Animals 

All  good  impressions.  Mounted  on  heavy  cards.  Six  pieces.  One  lot. 


CALAME,  ALEXANDRE 

Bom  at  Vevay,  Switzerland,  in  1810  ; died  at  Mentone,  in  1864. 


536- 


Solitude 

Etched  after  his  own  painting. 
85 


537- 

The  Torrent 

Etched  after  his  own  painting. 

538- 

An  Alpine  Torrent 

The  Bathers 

Etched  from  his  own  paintings.  Proofs  on  India  paper.  Two  pieces.  One  lot. 


CARMIENCKE,  JOHANN  HERMANN 

Born  at  Hamburg  in  1810;  died  at  New  York  in  1867.  He  etched  thirty-five 
plates.  All  are  carefully  and  neatly  executed. 

539 — The  Mill 

Eight  impressions  of  this  subject.  One  lot. 

540—  The  Lake 

Ten  mpressions.  One  lot. 


541 — The  Huntsman 

Four  impressions.  One  lot. 

542—  The  Great  Oak 

Five  impressions.  One  lot. 


543 — Interior  of  the  Rochsburg,  Saxony 

Twenty-four  impressions.  One  lot. 


CHAMPOLLION,  E. 

544 — Choosing  the  Model  (After  Fortuny) 

Fine  proof  on  Japanese  paper.  The  artists’  names  lightly  traced  with  the  needle. 
“ Le  Choix  du  Modele,  une  des  plus  chatoyantes  estampes  gravies  par  Champol- 
lion,  et  dont  les  6preuves  avant  la  lettre,  aujourd’hui  £puis£es,  sont  tr£s  d£sir£es  par 
les  collectionneurs,  qui  en  offrent  150  ou  200  fr.” — Henri  Beraldi,  "Les  Graveurs 
du  XIXe  Siecle." 


86 


COROT,  JEAN  BAPTISTE  CAMILLE 

Born  at  Paris  in  1796  ; died  there  in  1875. 

“ The  few  etchings  of  Corot  have  one  merit  and  charm — they  do  certainly  recall  to 
mind,  by  association  of  ideas,  his  charming  work  in  oil,  so  full  of  the  sweetest  poetical 
sentiment.  All  sins  are  forgiven  to  the  true  poets.” — P.  G.  Hamerton. 

545 — Environs  de  Rome 

Proof  on  Japanese  paper. 


CRUIKSHANK,  GEORGE 

Born  at  London  in  1792  ; died  there  in  1878. 

“ This  artist  is  a personage  of  exceptional  endowments.  His  invention  is  vivid, 
and  his  power  of  drawing  the  figures  invented  is  singularly  sprightly  and  precise.” — 
P.  G.  Hamerton. 

546—  The  Signs  of  the  Zodiac 

Twelve  humorous  etchings.  Excellent  impressions.  In  paper  wrapper.  One  lot. 


EVERSHED 

547—  The  Village  Street 

Proof  on  Japanese  paper. 

\ 

548—  A River  Bank 

Proof  on  India  paper. 


FORTUNY,  MARIANO 

Born  at  Reus,  in  Spain,  in  1838  ; died  at  Rome  in  1874. 

“Ces  eaux-fortes,  d’un  travail  tr6s  £gratign£  et  grignotg,  sont  d’un  aspect  tr£s  original 
et  du  plus  grand  int£ret.” — Henri  Beraldi,  “ Les  Graveurs  du  XIX*  Steele .” 

Good  impressions  of  Fortuny’s  etchings  are  rare.  Of  his  twenty-nine  etchings, 
nineteen  are  included  in  the  present  collection. 


549—  Kabyle  Mort 

Beraldi,  No.  2.  Fine  impression  on  Holland  paper.  Full  margins. 

87 


550- 


Serenade 

Beraldi,  No.  io. 

Note. — This,  like  all  the  seventeen  etchings  by  Fortuny  catalogued  below,  is  a fine 
impression,  on  India  paper,  with  full  margins,  in  perfect  condition. 


SSI- 

Amateur  de  Jardin 

Beraldi,  No.  n. 

552— 

Croquis 

Beraldi,  No.  12. 

553— 

Un  Pouilleux 

Beraldi,  No.  13. 

554— 

Une  Rue  de  Seville 

Beraldi,  No.  14. 

555— 

Muletier 

Beraldi,  No.  15. 

556- 

Anachorete 

Beraldi,  No.  16. 

557— 

Tanger.  Arabes  Assis 

Beraldi,  No.  17. 

558- 

Deux  Cardinaux 

Beraldi,  No.  18. 

559— 

Marocain  Assis 

Beraldi,  No.  19. 

560— 

Cheval  du  Maroc 

Beraldi,  No.  20. 

561— 

Eglise  St.  Joseph  a Madrid 

Beraldi,  No.  21. 

562— 

Marechal-ferrant  au  Maroc 

Beraldi,  No.  22. 

563— 

Meditation 

Beraldi,  No.  23. 

88 

564— 

Diplomate 

Beraldi,  No.  24. 

565— 

Portrait  du  peintre  Zamacois 

Beraldi,  No.  25. 

566— 

Sujet  Sans  Titre 

Beraldi,  No.  26. 

567— 

Homme  se  Roulant  a Terre 

Beraldi,  No.  27. 

GAUCHEREL,  LEON 

“ All  M.  Gaucherel’s  etchings  are  distinguished  by  great  clearness  and  knowl- 
edge.”— P.  G.  Hamerton. 

568 — The  Avenue,  Middleharnis  (After  Hobbema) 

“ A most  successful  rendering  of  the  curiously  clear,  quaint,  and  stiff  landscape  of 
Hobbema.” — P.  G.  Hamerton. 

Proof  on  Japanese  paper. 

Also 

The  Farm  by  the  River 

By  Haseltine 

“Ring  Out,  Wild  Bells” 

Proofs  on  Japanese  paper.  Three  pieces.  One  lot. 

HADEN,  SIR  FRANCIS  SEYMOUR 

Born  in  London,  September  16,  1818.  The  greatest  etcher  of  landscape  of  this  (or 
perhaps  any)  century. 

“ An  artist  of  rare  endowment  and  consummate  skill.  . . . He  is  a master  of 

foliage  ; he  has  drawn  trees  magnificently,  both  as  to  wood  and  leaves.  There  is  no 
better  stem  or  branch  drawing  than  his  in  all  contemporary  art.” — P.  G.  Hamerton. 

569 — Out  of  Study  Window 

Drake,  No.  17.  First  state.  Signed  artist’s  proof  on  Japanese  paper. 

“ With  the  single  exception  of  Whistler,  there  is  not  another  etcher  in  England  who 
would  not  have  killed  this  sky  in  trying  to  finish  it.” — P.  G.  Hamerton. 

89 


570 — Out  of  Study  Window 

Drake,  No.  17.  First  state.  Signed  artist’s  proof  on  vellum.  Rare. 


571 — On  the  Test 

Drake,  No.  19.  First  state.  Fine  impression  on  Japanese  paper.  Unsigned. 

The  artist  writes  of  this  plate  : “ The  Test  (in  Hampshire)  is  a famous  trout  stream.” 

572 — Kidwelly  Town 

Drake,  No.  22.  First  state.  Signed  artist’s  proof  on  vellum.  Fine  and  rare. 

573 — Kidwelly  Castle 

Drake,  No.  23.  First  state.  Signed  artist’s  proof  on  Japanese  paper. 

574 — Amsterdam 

Drake,  No.  36.  Trial  proof  A.  In  the  handwriting  of  the  artist,  “ fragment  only.” 
Signed  artist’s  proof  on  Japanese  paper.  Rare. 

“Two  or  three  proofs  only  were  taken,  and  the  plate  was  divided  into  Nos.  3 7 
and  38,  the  other  three  sketches  being  destroyed.” — Drake. 


575—  Near  the  Grand  Chartreuse  (After  Turner) 

Drake,  No.  49.  First  state.  Signed  artist’s  proof  on  Whatman  paper.  This  plate 
was  etched  as  a preparation  for  mezzotint,  but  with  the  exception  of  the  rock  and  the 
two  trees  in  the  foreground,  no  mezzotint  work  was  done  upon  it. 


576—  The  Fisherman 

Drake,  No.  61.  Trial  proof  A.  Signed  artist’s  proof  on  Holland  paper.  In  the 
handwriting  of  the  artist  “ A Fisherman,  Maple  Durham,”  and  “A  Delatre — S. 
Haden.” 

577—  Penton  Hook 

Drake,  No.  62.  Trial  proof  B.  Signed  artist’s  proof  on  Japanese  paper.  Rare 
and  fine. 

578— 

Drake,  No.  63. 
point  work. 

579—  Puff.  A Dog  Asleep  on  a Chair 

Drake,  No.  94.  First  state.  Signed  artist’s  proof.  The  dog  belonged  to  Mr. 
Charles  A.  Cole. 


The  Lover’s  Walk 

First  state.  Signed  artist’s  proof.  A fine  impression,  rich  in  dry- 


go 


580— 


Twickenham  Church 

Drake,  No.  95.  First  state.  A fine  impression.  Unsigned. 


581 — Yacht  Tavern,  Erith 

Drake,  No.  101.  Trial  proof  A.  Signed  artist’s  proof  on  heavy  Japanese  paper. 
A beautiful  impression  of  this  rare  print. 

582 — Firs.  A Study 

Drake,  No.  113.  First  state.  Signed  artist’s  proof. 

583—  The  Three  Sisters 

Drake,  No.  116.  First  state.  Signed  artist’s  proof  on  Whatman  paper.  Rare 
and  fine. 

584 — The  Turkish  Bath,  with  Two  Figures 

Drake,  No.  118.  First  state.  Signed  artist’s  proof. 

585 — Opposite  the  Inn,  Purfleet 

Drake,  No.  122.  First  state.  Signed  artist’s  proof  on  Whatman  paper.  Of  this 
plate  the  artist  writes  : “ A very  fair  rendering  of  the  Thames  below  London.” 

586 — The  Breaking  up  of  the  “ Agamemnon  ” 

Drake,  No.  128.  Trial  proof  between  B and  c.  Undescribed  by  Drake.  Signed 
artist’s  proof.  On  the  lower  margin,  in  the  handwriting  of  the  artist:  “Trial  proof. 
Very  rare.  Cathedral  in  background,  before  much  work  in  sky,  and  before  extra  balk 
of  timber.”  This  is,  most  probably,  an  unique  impression  of  this  magnificent  etching. 

“ With  such  a subject  as  this  for  a motive,  an  etcher  will  do  manly  work  if  the 
strength  to  do  it  is  in  him.  And  this  is  manly  work.” — P.  G.  Hamerton. 

Also , counterfeit  of  the  above,  etched  by  Barry.  Two  pieces  in  all. 

587—  Sawley  Abbey 

Drake,  No.  131.  Second  state.  With  a sheep  and  a lamb  in  the  foreground  to  the 
right.  Undescribed  by  Drake.  Signed  artist’s  proof.  In  the  handwriting  of  the 
artist,  “ 1 3 1 , undescribed,  2d  st.” 

588—  Scotch  Firs — Inveroran 

Drake,  No.  133.  First  state.  Signed  artist’s  proof  on  Whatman  paper. 

589—  Calais  Pier  (After  Turner) 

Drake,  No.  140.  Trial  proof  C.  From  a portion  of  the  plate,  the  foreground  em- 
bossed in  white  from  the  uninked  etched  lines.  Signed  artist’s  proof. 


91 


590 — Hand  Painting 

Drake,  No.  142.  Trial  proof  A.  Marked  by  the  artist,  “ fragm1  only.” 

591—  Hands  Dry-Pointing 

Drake,  No.  143.  Trial  proof  b.  Signed  artist’s  proof.  A rich  impression. 


592—  The  Keep 

Drake,  No.  151.  Signed  artist’s  proof.  In  the  handwriting  of  the  artist,  **  15 1, 
undescribed  st.” 

593 — The  Sluice 

Drake,  No.  152.  First  state.  Signed  artist’s  proof.  Very  rich  in  dry-point  work. 


594— 


The  Cabin 


Drake,  No.  153. 
the  tree,  are  absent. 


State  undescribed  by  Drake. 
Signed  artist’s  proof.  Fine. 


The  two  figures,  near  the  root  of 


595—  Newton  Manor 

Drake,  No.  157.  Undescribed  state,  with  deer.  Signed  artist’s  proof.  In  the 
handwriting  of  the  artist,  “ 157,  undescribed.” 

596 — Wareham  Bridge 

Drake,  No.  159.  Undescribed  trial  proof,  before  the  additional  dark  work  on  the 
houses.  Rare  and  very  fine.  The  artist  considers  this  to  be  one  of  his  best  plates. 
Signed  artist’s  proof. 

597 — A Backwater 

Drake,  No.  161.  Trial  proof,  before  the  S in  Seymour  was  changed,  before  addi- 
tional lines  above  the  signature,  and  before  the  trees  were  added  in  the  distance.  Un- 
described by  Drake.  Signed  artist’s  proof.  Marked  “ trial  ” in  the  handwriting  of 
the  artist. 

598 — A Backwater 

Drake,  No.  161.  First  state.  Signed  artist’s  proof.  Unusually  rich  in  dry  point 
work. 

599 — A Backwater 

Drake,  No.  161.  Second  state.  Undescribed  by  Drake.  With  five  ducks  on  the 
bank  to  the  right.  Signed  artist’s  proof.  In  the  handwriting  of  the  artist,  “ with  5 
duck." 


92 


600 — The  Two  Cows 

Drake,  No.  163.  Trial  proof  B.  Signed  artist’s  proof.  Rare  and  fine. 

601 — The  Two  Cows 

Drake,  No.  163.  State  undescribed  by  Drake.  With  a third  cow  in  the  foreground 
to  the  right,  and  both  cows,  in  the  middle  distance,  shaded.  Signed  artist’s  proof. 
In  the  handwriting  of  the  artist,  “ 163,  not  described — 1st  st.” 

602 — The  Willows 

Drake,  No.  164.  Trial  proof  A.  Signed  artist’s  proof. 

603 — Dusty  Millers 

Drake,  No.  165.  Trial  proof  A,  before  the  man  getting  over  the  stile.  Signed 
artist’s  proof  on  Japanese  paper.  In  the  handwriting  of  the  artist,  “ 165.  Trial.  Jan 
6 1878.” 

604 — The  Amstel 

Drake,  No.  177.  Trial  proof,  undescribed  by  Drake.  Before  the  words  “Royal 
Institution,  March  29,  1879,  Seymour  Haden.”  Signed  artist’s  proof.  Rare  in  this 
state.  Etched  on  zinc. 

605—  Windsor 

Drake,  No.  183.  First  state,  before  the  bushes,  in  front  of  the  boys,  were  removed. 
Signed  artist’s  proof.  It  is  rare,  as  but  twenty-five  proofs  in  this  State  were  printed. 

Also 

Counterproof  of  a Portion  of  an  Undescribed  Trial  Proof  of 

“ Windsor” 

Signed  proof.  In  the  corner,  in  the  handwriting  of  the  artist,  “ 183  Rev.  Trial.” 
Two  pieces  in  all. 

606 — Greenwich 

Drake,  No.  184.  Second  state.  Signed  artist’s  proof.  Fine. 

' v 1 ■ * V ’ " r ‘ V • j < . 

607 — Breaking  Up  of  the  “Agamemnon” 

Drake  (supplement),  No.  188.  Signed  artist’s  proof.  In  the  handwriting  of  the 
artist,  “ not  published  or  described.”  This  is  an  impression  of  the  etching  only,  be- 
fore the  plate  was  mezzotinted,  and  is  very  rare. 

608 — A Lancashire  River 

Drake  (supplement)  No.  191.  Very  fine  proof,  with  the  following  inscription  in  the 
handwriting  of  the  artist : “ To  Dr.  Charles  E.  West,  in  pleasant  remembrance  of  1883. 
F.  Seymour  Haden.” 

This  is  one  of  the  artist’s  favorite  plates,  and  is  one  of  his  best. 

93 


Encombe  Woods 


609- 

Drake  (supplement),  No.  192.  Signed  artist’s  proof.  In  the  handwriting  of  the 
artist  : “Unpublished,  not  in  Drake.  July  1,  1882.” 

610 — The  Four  Cows 

Drake  (supplement),  No.  197.  Trial  proof  A.  Signed  artist’s  proof.  In  the  hand- 
writing of  the  artist : “ trial  (a).” 


611-  ETUDES  A L’EAU-FORTE 

PAR  FRANCIS  SEYMOUR  HADEN 

Notice  et  Descriptions  par  Philippe  Burty  (1866) 

A complete  set  of  this  superb  series,  as  issued,  in  a half-morocco  portfolio,  lettered. 
Only  one  hundred  and  eighty  sets  were  issued,  and  the  majority  of  these  have  been, 
long  since,  broken  up,  and  the  proofs  disposed  of  singly. 

Philip  Gilbert  Hamerton,  writing  of  these  etchings,  says  : “ No  issue  of  etchings 
ever  had  such  rapid  and  complete  success.  The  reviews  of  them  were  very  num- 
erous ; all  the  London  papers  noticed  them,  and  every  review  was  in  a strain  of 
almost  unmixed  eulogy.  The  subscription  list  was  rapidly  filled,  though  the  price 
went  beyond  even  English  custom,  and  in  a few  weeks  one  of  the  busiest  surgeons  in 
London  found  himself  one  of  the  most  celebrated  artists.” 

With  the  exception  of  the  head- and  tail-pieces,  each  proof  bears  the  signature  of 
Seymour  Haden.  Upon  the  fly-leaf,  in  the  handwriting  of  the  artist:  “Charles  E. 
West,  Esqr,  M.D.,  LL.D.,  &c.,  &c.  F.  Seymour  Haden.” 

The  set  comprises  the  following  etchings  : 

Hands  Etching  (on  Title-page). 

Kidwelly  Castle  (Head-piece  to  the  Introduction). 

The  Holly  Field  (Tail-piece  to  the  Introduction). 

The  Little  Calais  Pier  (Head-piece  to  the  Catalogue). 

View  of  the  Port  of  Amsterdam  (Tail-piece  to  the  Catalogue). 

Out  of  Study  Window. 

Battersea  Reach. 

Kensington  Gardens.  The  small  plate. 

The  Towing  Path. 

Sunset  on  the  Thames. 

Fulham. 

Shepperton. 

Whistler’s  House,  Old  Chelsea. 

Kew  Railway  Extension. 

Early  Morning  in  Richmond  Park. 


94 


Thames-Side  at  Kew. 

Egham. 

Egham  Lock. 

Brentford  Ferry. 

A Sunset  in  Tipperary. 

The  Tevy  at  Cardigan. 

Kilgaren  Castle. 

S House  of  Benjamin  Davis,  Smith. 

Kenarth,  South  Wales. 

Newcastle  in  Emlyn. 

Shere  Mill  Pond. 

Evening. 

Kidwelly  Town. 

Mytton  Hall,  Lancashire 

Thomas  Haden.  After  Wright  of  Derby. 

No  set  of  etchings  ever  issued  contains  so  many  masterpieces  as  does  the  “Etudes 
k 1’eau-forte,”  and  it  is  very  unlikely  that  an  unbroken  set  of  such  fine  quality  will  be 
offered  for  sale  for  many  years  to  come.  To  be  sold  as  a set. 


HAMERTON,  PHILIP  GILBERT 

612—  The  House  by  the  Lake 

Original  etching.  Proof  on  Japanese  paper. 


95 


THIRD  EVENING’S  SALE 


Wednesday,  March  27  th 
AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  7.30  O’CLOCK 


HUGO,  VICTOR 

613 — L’Eclair 

Etched  in  1868.  Proof  on  Holland  paper. 

JACQUE,  CHARLES 

Born  at  Paris  in  1813. 

“ He  will  certainly  be  remembered  as  one  of  the  master  etchers  of  our  time. 

. . . No  man  ever  drew  poultry  better.  His  deep  and  sincere  love  of  simple 

country-life  gives  a great  charm  to  many  of  his  etchings,  and  is  entirely  conveyed 
to  the  spectator.” — P.  G.  Hamerton. 

614 — Collection  Published  in  1864 

Guiffrey,  Nos.  177-201,  inclusive.  Twenty-five  plates  on  24  sheets.  The  complete 
set.  Large  paper,  Holland.  Very  fine.  In  portfolio  as  issued.  This  set  contains, 
together  with  that  issued  in  1865,  some  of  Jacque’s  most  admired  plates.  To  be  sold 
as  a set. 

615 — Collection  Published  in  1865 

Guiffrey,  Nos.  202-212,  inclusive  ; together  with  Guiffrey  supplement.  Nos.  213, 
214,215.  Fourteen  plates  in  all.  On  India  paper.  Very  fine  set.  In  a portfolio.  To 
be  sold  as  a set. 

616 — Eaux-Fortes  Anciennes 

First  series.  Complete  set,  Nos.  1 to  24.  Fine,  on  large  paper.  In  a portfolio. 
Rare.  Twenty-four  pieces.  To  be  sold  as  a set. 

96 


617 — Eaux-Fortes  Anciennes 

Second  series.  Complete  set,  numbers  25  to  48.  Fine,  on  large  paper.  In  a 
portfolio.  Rare.  Twenty-four  pieces.  To  be  sold  as  a set. 

JACQUEMART,  JULES 
Born  at  Paris  in  1837  ; died  at  Paris  in  1880. 

618 —  Etchings  of  Pictures  in  the  Metropolitan  Museum,  New  York. 

Ten  etchings  from  pictures,  and  an  original  etched  title-page.  Eleven  pieces.  A 
beautiful  set,  as  issued.  Paper  wrappers.  In  a half-morocco  folio. 

The  marvellous  facility  with  which  Jacquemart  has  interpreted  the  works  of  masters 
so  entirely  different  in  style,  must  always  remain  a matter  for  study  and  wonder.  The 
subjects  are  as  follows  : 

1.  The  Sorceress.  After  Frans  Hals. 

2.  A Young  Girl.  After  Greuze. 

3.  Repose.  After  Berghem. 

4.  The  Moerdyck.  After  Van  Goyen. 

5.  Saint  John  Visiting  the  Infant  Jesus.  After  Jordaens. 

6.  Portrait  of  Jacob  Van  Veen.  After  Heemskerck. 

7.  Interior  of  a Dutch  Cottage.  After  Kalf. 

8.  Portrait  of  a Young  Woman.  After  Cranach. 

9.  A Dutch  Burgomaster.  After  Van  der  Heist. 

10.  A Young  Dutch  Gentleman.  After  De  Vries. 

All  are  proofs  on  hand-made  paper.  All  are  very  fine  impressions.  To  be  sold 
as  a set. 


JONGKIND,  JOHANN  BARTHOLD 

Born  at  Lothrop,  in  Holland,  in  1819.  A pupil  of  Isabey. 

“Jongkind  is  invaluable  to  the  student  of  etching  as  an  example  of  simple  line 
work  pushed  to  its  utmost  extreme.  . . . Rude  as  this  sketching  looks,  and  imper- 

fect in  many  respects  as  it  really  is,  the  qualities  that  belong  to  it  are  never  attained 
in  art  without  the  combination  of  talent  approaching  to  genius,  and  study  of  a very 
observant  and  earnest  kind.” — P.  G.  Hamerton. 

619 — The  Town  of  Maaslins,  Holland 

“ The  strange  interest  of  the  skating  figures  in  this  composition  . . . gives  us  the 

notion  of  skating  far  better  than  more  elaborately  drawn  figures  would  do.” — P.  G. 
Hamerton. 

Fine  proof  on  Japanese  paper. 


620— 


7 


Canal  near  Rotterdam— Winter 

Fine  proof  on  Japanese  paper. 

97 


KINGSLEY,  ELBRIDGE 

One  of  the  foremost  wood-engravers  of  the  American  School. 

621 — The  Wreck 

Wood-engraving,  from  his  own  design.  Fine  proof  on  India  paper. 

Also 

Landscape  with  a River 

Proof  on  India  paper.  Two  pieces.  One  lot. 


LALANNE,  MAXIME 

Born  at  Bordeaux  in  1827  ; died  in  1886.  A pupil  of  Gigoux  One  of  the  founders 
of  the  Societe  des  Aqua-Fortistes.  In  1875  he  was  made  a Chevalier  of  the  Legion  of 
Honor.  From  the  King  of  Portugal  Lalanne  received  the  Order  of  Christ,  he  being 
the  first  etcher  so  honored. 

“No  one  ever  etched  so  gracefully  as  Maxime  Lalanne.  . . . He  is  also 
essentially  a true  etcher  ; he  knows  the  use  of  the  free  line,  and  boldly  employs  it 
on  due  occasion.” — P.  G.  Hamerton. 

622 — Rochers  a Granville 

Beautiful  proof,  on  Japanese  paper,  before  the  plate  was  cut,  and  the  lower,  blank 
margin  reduced  in  size.  Unique.  This  etching  was  shown,  with  others,  at  the  Salon 
in  1874,  and  won  a medal  for  Lalanne. 

LALAUZE,  ADOLPH 

“One  of  the  most  skilful  original  etchers  in  the  modern  French  School.” — P.  G. 
Hamerton. 

623 — La  Diseuse  de  Bonne  Aventure  (After  Willems) 

and 

Ten  Other  Etchings 

By  Gaujean,  Flameng,  Jacquemart,  Koepping,  and  others,  after  various  painters. 
Eleven  pieces,  as  published  in  L'  Art.  One  lot. 

MERYON,  CHARLES 

Born  at  Paris  in  1821  ; died  at  Charenton  in  1868.  The  years  from  1842  to  1846 
were  spent  in  a voyage  of  circumnavigation,  and  at  this  time  he  made  those  draw- 
ings of  New  Zealand  subjects  which,  upon  his  return  to  Paris,  he  etched.  In  1850  he 
took  chambers  in  the  Rue  St.  Etienne  du  Mont,  and  in  the  next  four  years  produced 
the  great  work  of  his  life — Eaux  Fortes  sur  Paris.  Though  these  masterly  etchings 
were  appreciated  by  a few  enlightened  connoisseurs,  the  general  public  would  have 

98 


none  of  them,  the  publishers  refused  them,  and  the  artist,  driven  mad  by  want,  neglect, 
and  disappointment,  ended  his  days  in  the  insane  asylum  atCharenton. 

“ M6ryon  was  one  of  the  greatest  and  most  original  artists  "who  have  appeared  in 
Europe.  He  is  one  of  the  immortals.  His  name  will  be  inscribed  on  the  noble  roll 
where  Diirer  and  Rembrandt  live  for  ever.” — P.  G.  Hamerton. 

624—  L’Abside  de  Notre  Dame  de  Paris 

Burty,  No.  52.  Wedmore,  No.  22.  Fine  impression,  on  India  paper.  Full  margins. 
“This  view  of  Notre  Dame  is  strikingly  majestic.  The  Cathedral  . . . appears 
to  have  exercised  a great  influence  over  Meryon’s  dreamy  spirit,  and  to  it  we  owe  his 
loveliest  plate.” — Philippe  Burty. 

PARK. 

625 — The  Romantic  House  (After  Constable) 

The  Cornfield  (After  Constable) 
also 

Schwabel  Weiss 

(By  Backer) 

Proofs  before  letters,  on  Japanese  paper.  Three  pieces.  One  lot. 

PLATT,  CHARLES  A. 

“ In  the  great  art  of  omitting,  Mr.  Platt  is,  in  truth,  accomplished,  and  this  is  what 
gives  his  prints  their  simplicity,  their  harmony,  their  breadth  and  unity  of  effect.” — 
American  Etchers , by  Mrs.  Schuyler  van  Rensselaer. 

626 — The  Market  Slip,  St.  John,  N.  B.,  at  Ebb  Tide 

Signed  artist’s  proof,  on  Japanese  paper.  This  is,  without  question,  one  of  the  art- 
ist’s finest  plates,  and  one  of  the  best  etchings  ever  produced  in  America. 

UNGER,  WILLIAM 

“ It  is  difficult,  in  an  age  which  has  produced  half  a dozen  artist  engravers  of  the 
very  highest  rank,  to  say  which  of  them  is  king  ; but  if  any  critic  were  to  give  the  su- 
preme station  to  Unger  he  might  maintain  his  decision  by  the  argument  that  this  artist 
has  etched  more  plates  of  uniform  good  quality  than  any  one  else.” — P.  G.  Hamerton. 

627—  Queen  Catarina  Cornaro  Honored  by  the  Venetians  (After 

Hans  Makart) 

Fine  proof,  before  all  letters,  on  India  paper. 

Also 

A Presentation  to  Marie  de  Medici  (After  Rubens) 

Fine  proof,  before  all  letters,  on  India  paper.  Two  pieces.  One  lot. 


99 


628 —  Radirungen  Nach  Frans  Hals,  von  Prof.  William  Unger. 

Mit  Text  von  Dr.  C.  Vosmaer.  (Leiden,  1873.) 

Ten  plates.  All  proofs  on  India  paper.  A beautiful  set,  in  perfect  condition,  with 
the  original  paper  wrappers  as  issued.  In  a cardboard  folio.  Fine.  To  be  sold  as 
a set. 

WALTNER,  CHARLES 

One  of  the  foremost  “ reproductive  etchers”  of  the  nineteenth  century. 

629 — Repose  (After  Louis  Leloir) 

A Burgomaster  (After  Jordaens) 

The  China  Vase  (After  Fortuny) 

Fine  proofs  on  Japanese  paper.  Three  pieces.  One  lot. 

WHISTLER,  J.  McNEILL 

“In  individuality,  in  sentiment,  and  in  the  free,  frank,  artistic,  and  ‘telling’  use  of 
the  line,  he  has  no  superior  among  the  moderns  and  few  equals  in  any  age.  His  work 
is,  at  times,  extremely  strong  and  always  supremely  delicate,  and  wonderfully  vital 
and  original.” — American  Etchers,  Mrs.  Schuyler  van  Rensselaer. 

630 — The  Lime  Burner 

Wedmore,  No.  44.  Fine  impression,  with  full  margins.  One  of  the  sixteen 
“Thames  Etchings,”  and  one  of  the  best.  Rare. 

631 — Becquet.  “The  Fiddler” 

Wedmore,  No.  48.  Very  clear  impression  on  heavy  Japanese  paper.  One  of  the 
“Thames  Etchings.”  Competent  critics  have  pronounced  this  magnificent  plate 
“ worthy  of  Rembrandt  himself.”  Further  than  this  praise  cannot  go.  Rare. 

632—  Annie  Haden,  Standing 

Wedmore,  No.  5 7.  A fine  impression  of  this  very  rare  dry  point. 

WILKIE,  SIR  DAVID 

Born  in  1785  ; died  in  1841. 

“The  characteristics  of  Wilkie’s  best  plates  are  good  composition  and  happy  selec- 
tion of  line.” — P.  G.  Hamerton. 

633 —  A Dutch  Interior : Lady  seated  in  an  Armchair,  a Child 

Playing  with  her  Cap 

A beautiful  impression,  on  India  paper.  Full  margins. 

634—  Exterior  of  a Cottage  : In  the  Manner  of  Adrian  Van  Ostade 

and 

The  Reading  of  the  Will 

Beautiful  impressions  on  India  paper.  The  two  plates  printed  upon  one  sheet. 
Two  pieces.  One  lot. 


100 


635—  Gentleman  at  his  Desk 

A superb  impression.  Very  rich  in  dry-point  work.  On  India  paper.  Full  mar- 
gins. Of  this  plate,  Hamerton  writes  : “ It  is  equal  to  the  best  work  of  the  old  masters.” 

636 —  Benvenuto  Cellini  presenting,  for  the  approval  of  Pope  Paul 

III.,  a Silver  Censer  of  his  own  Manufacture 

A magnificent  impression,  on  India  paper. 

“ One  of  the  finest  etchings  ever  produced  in  England.” — P.  G.  Hamerton. 

637 — (a)  A Lady  at  a Window,  reading  a Letter 

(b)  A Group  of  Three  Boys,  with  a Dog 
(c)  Boys,  a Girl,  and  a Dog 

Very  fine  impressions.  The  three  plates  printed  upon  one  sheet,  which  has  not 
been  cut.  Of  “ Boys,  a Girl,  and  a Dog  ” Hamerton  writes  : “ A graceful  little  sub- 
ject. . . . The  execution  is  very  spirited  and  light.”  Three  pieces.  One  lot. 


YALE,  LEROY  MILTON 

“One  of  the  most  earnest  founders  and  fosterers  of  the  New  York  Etching  Club.” 

638 — The  Deer  Island  Bridge,  Newburyport 

Signed  artist’s  proof,  on  Japanese  paper. 

639 — Naboth’s  Vineyard 

Signed  artist’s  proof,  on  Japanese  paper. 

640 — The  Cottage  of  the  Gentleman  that  Pays  the  Rent 

Signed  artist’s  proof,  on  Japanese  paper. 

641 — The  Wayside  Poplars 

Signed  artist’s  proof,  on  Japanese  paper. 


COLLECTIONS  OF  ETCHINGS  BY  MODERN 

MASTERS 

642  Original  Etchings  by  American  Artists. 

Cassell  & Co.,  1883.  Number  7 of  an  Edition  de  Luxe  limited  to 
* 203  copies.  With  an  introduction  by  S.  R.  Koehler.  Twenty 

proof  etchings  printed  on  India  or  Japan  paper.  As  issued. 
In  perfect  condition.  In  a box. 


IOI 


643  Twenty  American  Etchings. 

Signed  artist’s  proofs,  on  Japan  paper,  of  etchings  by  Henry 
Farrer,  T.  W.  Wood,  Stephen  Parrish,  Thomas  Moran,  Joseph 
Pennell,  F.  S.  Church,  etc.,  etc. 

This  set  contains  the  same  etchings  as  “ Original  Etchings  by 
American  Artists,”  but  here  in  a portfolio  instead  of -bound  in 
book  form,  without  an  introduction,  and  all  signed  proofs. 


EAUX-FORTES  MODERNES 

CEuvres  Inedites  et  Originales.  Societe  des  Aqua-Fortistes.  A.  Cadart 

& Luquet,  Paris. 

644  First  Volume,  1863. 

Introduction  by  Theophile  Gautier.  Frontispiece  by  Jules 
Jacquemart.  Fifty-nine  etchings  (there  should  be  sixty)  by 
various  masters.  In  a portfolio,  as  issued.  This  set  lacks 
plate  17:  “ Queyroy.  Menhirs  de  Meneck.”  Otherwise  com- 
plete. All  are  fine  impressions.  With  one  exception,  proofs 
before  all  letters,  and  all  are  in  fine  condition. 

645  Second  Volume,  1864. 

Introduction  by  Jules  Janin.  Frontispiece  by  Jules  Laurens. 
Sixty  etchings  by  various  masters.  The  complete  set,  as  issued. 
In  a portfolio.  All  fine  impressions,  in  perfect  condition. 
Proofs  before  letters. 

646  Third  Volume,  1865. 

Introduction  by  W.  Burger.  Frontispiece  Dy  Bracquemond. 
Sixty  etchings  by  various  masters.  The  complete  set,  as  issued. 
In  a portfolio.  All  fine  impressions,  in  perfect  condition. 
Proofs  before  letters. 

647  Fourth  Volume,  1866. 

Introduction  by  Castagnary.  Frontispiece  by  F.  Roybet. 

Sixty  etchings  by  various  masters.  The  complete  set,  as  issued. 
In  a portfolio.  All  fine  impressions,  in  perfect  condition. 
Proofs  before  letters. 

648  Fifth  Volume,  1867. 

Introduction  by  Montrosier.  Frontispiece  by  E.  Dufeu. 

Sixty  etchings  by  various  masters.  The  complete  set,  as  issued. 
Ii)  a portfolio.  All  fine  impressions,  in  perfect  condition. 
Proofs  before  letters. 


102 


^ILLUSTRATION  NOUVELLE 


Par  une  Societe  de  Peintre-Graveurs  a l’Eau-forte.  Cadart  et  Luce,  Paris, 

1871. 

649  Third  Volume,  1871. 

Frontispiece  by  E.  Chifflart. 

Forty-seven  etchings  by  various  masters.  The  complete  set,  as 
issued.  All  good  impressions,  with  letters. 

Also  duplicate  of  Plate  114,  “ Coindre.  Eglise  a Marast.” 

650  Les  Rembrandt  de  l’Ermitage  Imperial  de  Saint-P£tersbourg. 

Quarante  planches  gravees  a l’eau-forte  par  N.  Massaloff.  W. 
Drugulin,  Leipzig,  1872. 

One  of  an  edition  of  two  hundred  copies.  Forty  plates.  Artist’s 
proofs  on  India  paper.  The  complete  set,  as  issued.  In  a 
portfolio. 

651  Traite  de  la  Graveur  a TEau-forte. 

Le  Portefeuille.  Societe  des  Beaux-Arts. 

Fifteen  etchings  by  various  masters.  All  are  remarque  proofs 
on  Japan  paper.  Half  morocco  portfolio;  silk  ties. 

This  important  collection  contains  several  plates  of  world-wide 
fame,  among  them  “ The  Choosing  of  the  Model,”  etched  by 
Champollion  after  the  painting  by  Fortuny. 

652  L’Eau-forte. 

Parts  1 to  20,  lacking  parts  3 and  15.  Eighteen  numbers  in  all. 
In  excellent  condition,  as  issued. 

653  Remarque  Proof  Etchings. 

Paris.  Societe  des  Beaux-Arts. 

Twenty-five  remarque  proofs  on  Japan  paper.  In  a portfolio, 
as  issued.  All  are  fine  impressions,  in  perfect  condition. 


BOUND  VOLUMES 


654  Compositions  from  Shelley’s  “ Prometheus  Unbound.” 

Twelve  engravings  in  outline  by  Sir  J.  Noel  Paton.  W.  P. 
Nimmo,  London,  1877.  Cloth. 


103 


655  A Series  of  Wood  Engravings  from  the  Frescoes  of  Giotto. 

Illustrating  the  lives  of  the  Virgin  and  our  Saviour,  accom- 
panied by  an  explanatory  notice  by  John  Ruskin.  Arundel 
Society,  i860. 

656  An  Analysis  of  the  Picture  of  the  Transfiguration  of  Raffaello 

Sanzio  D’Urbino. 

Illustrated  by  seventeen  heads  traced  from  the  picture,  and 
finished  of  the  same  size  by  Mons.  J.  Gaubaud.  Robert 
Bowyer,  London,  1817. 

657  Fifty-two  Engravings. 

By  various  masters,  of  the  Loggi  of  Raphael  in  the  Vatican. 
Montagnani,  Rome,  1789.  Half  morocco. 

658  A Series  of  Fac-similes  of  Original  Drawings  by  M.  Angelo  Buo- 

narotti. 

Selected  from  the  matchless  collection  formed  by  Sir  Thomas 
Lawrence.  S.  & A.  Woodburn,  London,  1853. 

659  Antichita  Romane. 

One  hundred  plates,  etched  by  Luigi  Rossini.  Rome,  1823. 
Bound  in  half  leather.  Book-plate  of  Wm.  Romilly. 

660  Imitations  of  Original  Drawings  by  Hans  Holbein. 

In  the  collection  of  his  Majesty.  Illustrious  Persons  of  the 
Court  of  Henry  VIII.,  with  biographical  tracts.  Published 
by  John  Chamberlaine,  London,  1792.  Engraved  by  Barto- 
lozzi.  Printed  in  colors.  All  fine  impressions.  Handsomely 
bound  in  half  morocco,  gilt  edges.  So  fine  a collection  in  such 
excellent  condition  is  rarely  met  with. 

“ It  was  during  his  enforced  exile  from  Basle  that  Holbein,  partaking  of  the  kindly 
hospitality  of  Sir  Thomas  More  at  Chelsea,  worked  industriously  at  the  production  of 
these  portraits,  which,  as  a series,  surpass  any  ever  published,  both  as  regards  their 
historic  interest  and  as  works  of  art.  They  were  drawn  on  tinted  paper,  with  colored 
chalks,  and  there  is  no  necessity  to  advertise  these  engravings  as  worthy  the  originals, 
beyond  a reference  to  the  engraver’s  name.  No  eminent  person  of  the  period  escaped 
his  pencil,  and  there  was  only  one  sketch  he  took  back  to  Basle — that  of  his  unfortu- 
nate host’s  family  ; and  this  was  for  Erasmus,  who  recommended  him  to  the 
Chancellor.” 


104 


PHOTOGRAPHS 


AMERICAN  VIEWS 

661  Two  views  of  Niagara  in  winter. 

One  view,  Old  Faithful  Geyser,  Yellowstone  Park. 

Three  pieces,  one  lot. 

662  One  view,  Gunnison  River,  Colorado. 

One  view,  Lake  San  Cristoval ; and  three  other  pieces. 

Five  pieces,  one  lot. 

ENGLISH  VIEWS 

663  Fifty-four  views  of  English  cathedrals  and  abbeys.  Salisbury,  Ely, 

Wells,  Gloucester,  Winchester,  etc.  Size  of  photographs,  6x8 
inches,  mounted  on  cards  12x15  inches.  Also  two  cabinet-size 
views.  Fifty-six  pieces,  one  lot. 

FRENCH  VIEWS 

664  Twenty  photographs  of  various  cathedrals.  Bourges,  six;  Arles, 

two;  Amiens,  one;  Tarascon,  one;  Auxerre,  one,  etc.  One  lot. 

GRECIAN  VIEWS 

665  Six  views,  various,  of  Athens.  Also  Ten  Details  of  Sculpture  (un- 

known). Sixteen  pieces,  one  lot. 

ITALIAN  VIEWS 

0 

666  Five  views  of  Villa  Pallivicini,  Genoa,  and  thr£e  views  of  Genoa. 

Eight  pieces,  one  lot. 

667  Eight  views  of  Rome.  The  Vatican,  Forum,  Coliseum,  etc. 

668  Four  views  of  Florence,  five  of  Venice,  one  each  of  Pisa,  Pompeii, 

and  Paestum.  Twelve  pieces,  one  lot. 

VIEWS  OF  INDIA 

669  Four  of  the  Taj  Agra,  and  one  of  the  Cashmere  Gate,  Delhi.  Five 

pieces,  one  lot. 


105 


JAPANESE  VIEWS 


670  The  Great  Buddha,  Daibootz;  the  Island  of  Inosima,  Yokohama; 

Grand  Temple  of  Kamakura.  Four  pieces,  one  lot. 

671  Twenty-three  views  of  various  Japanese  temples  and  landscapes. 

Size,  ioj/2  x 8 inches,  mounted  on  boards  18  x 15  inches. 

672  Sixty  views  of  Japanese  temples,  cities,  villages,  and  landscapes. 

Size,  1134x9  inches,  mounted  on  boards  19x21^4  inches.  In  a 
portfolio.  A splendid  collection  for  a museum  or  library. 


SCOTCH  VIEWS 

673  Eight  views  of  Balmoral  Castle  and  grounds  (the  Scotch  residence 
of  the  late  Queen  Victoria).  These  photographs  were  taken  by  J. 
Taylor  and  J.  L.  Cowan.  Five  sets  only  were  printed. 


SWISS  VIEWS 

674  One  view  each  of  Grindewald,  La  Mer  de  Glace,  Le  Matterhorn. 
Three  pieces,  one  lot. 


SPANISH  VIEWS 

675  Fourteen  views  of  Seville,  the  Alcazar,  Seville  Cathedral,  etc. 

676  Ten  views  of  the  Alhambra. 

677  Three  views  of  Burgos  Cathedral. 

One,  mosque*  in  Cordova. 

One,  west  door  of  Cathedral,  Salamanca. 

Five  pieces,  one  lot. 

VARIOUS  OTHER  PHOTOGRAPHS 

678  Sunset,  The  Sky  with  Fleecy  Clouds  is  Veiled,  Gathering  Vraic, 

Hudson  River,  Rainbow  Falls,  N.  Y.  Five  pieces,  one  lot. 

679  Ten  photographs,  religious  subjects,  after  Bellini,  Guido  Reni, 

Raphael,  and  others. 


680  Five  photographs,  after  paintings  by  Da  Vinci,  Kaulbach,  Piloty, 

and  others. 

68 1 Four  photographs,  various. 

682  Ten  photographs,  various. 

683  Three  photographs,  American  portraits. 

684  Forty-one  photographs  of  Egyptian  antiquities  in  the  British  Mu- 

seum. Size,  734  x I0/^  inches,  mounted  on  boards  14  x 18  inches. 
In  a portfolio. 

685  Sixty  photographs  of  Egyptian  antiquities  in  the  British  Museum. 

Of  the  same  size  and  mounted  in  the  same  manner  as  the  preced- 
ing lot. 

686  Five  views  at  Thebes,  two  views  of  Pyramids,  and  five  photographs 

after  statues  in  the  Vatican.  Twelve  pieces,  one  lot. 

PHOTOGRAPHS  AFTER  BAS-RELIEFS 

687  Hercules  and  Omphale,  after  P.  Julien ; Cupid  and  Psyche,  and 

Cupid  and  Bacchus.  Four  pieces,  one  lot. 

688  Spring,  two  pieces. 

Winter,  two  pieces. 

Four  pieces,  one  lot. 

689  Autumn  (Cupids  with  fruit).  Four  pieces,  one  lot. 

690  The  Seasons,  by  Domouchi.  Four  pieces,  one  lot. 

691  The  Descent  from  the  Cross.  From  an  ivory  bas-relief  in  the  Vati- 

can. Three  pieces,  one  lot. 

692  Charity,  by  Gadore. 

Faith  and  Hope,  by  Gadore. 

A Nest  of  Cupids. 

Four  pieces,  one  lot. 

693  Three  Allegorical  Groups,  by  Prou.  Three  pieces,  one  lot. 

694  Night  and  Morning,  after  Thorwaldsen.  Two  pieces,  one  lot. 

695  Pope  Pius  IX.  Two  pieces,  one  lot. 


107 


696  The  Four  Evangelists,  after  Thorwaldsen.  Four  pieces,  one  lot. 

697  The  Four  Evangelists,  after  Thorwaldsen.  Four  pieces,  one  lot. 

698  The  Elements.  Four  pieces,  one  lot. 

699  Three  Allegorical  Groups.  Three  pieces,  one  lot. 

700  The  Harvest  and  the  Vintage.  Two  pieces,  one  lot. 

701  The  Harvest  and  the  Vintage.  Two  pieces,  one  lot. 

702  Europe,  Asia,  Africa,  America,  Arts,  Sciences,  by  Vivian.  Six 

pieces,  one  lot. 

703  Ninety-three  photographs  of  armor  belonging  to  Charles  V.,  Philip 

II.,  Philip  III.,  Don  John  of  Austria,  Philip  IV.  Size,  9x13 
inches,  mounted  on  boards  12  x 173^  inches.  This  callection  is 
unusually  interesting,  and  would  be  exceedingly  difficult  to  du- 
plicate. One  lot. 

704  International  Kiinstler  Album,  containing  thirty-three  photographs 

after  drawings  by  Kaulbach,  Lhermitte,  Knaus,  and  others.  In  a 
portfolio.  One  lot. 

705  Sixteen  photographs  of  drawings  by  Piloty,  Grutzner,  Piglheim,  and 

others.  In  a portfolio.  One  lot. 

706  Atlas  Trojanischer  Alterthiimer  Photographische  Abbildungen 

zu  dem  Berichte  fiber  die  Ausgrabungen.  In  Troja  von  Dr.  Hein- 
rich Schliemann  (1874).  Two  hundred  and  seventeen  photo- 
graphs, mounted  on  heavy  paper  in  original  portfolio,  as  issued. 
One  lot. 

MISCELLANEOUS 

707  Thirty-one  colored  engravings,  various,  of  European  cities  and 

buildings. 

708  Sixteen  colored  engravings  of  ancient  Roman  buildings. 

709  Fifteen  colored  lithographs  of  Venice. 

710  Seven  lithographs,  Egyptian  subjects,  after  Roberts,  with  text. 

71 1 Views  of  Boston,  Philadelphia,  Oswego,  and  six  other  pieces, 

various.  Nine  pieces,  one  lot. 

108 


712  Five  lithographs  of  Eastgate  Street,  Chester. 

Five  lithographs  of  Watergate  Street,  Chester. 

Five  lithographs  of  Northgate  Street,  Chester. 

Two  lithographs  of  Bridge  Street,  Chester. 

Seventeen  pieces,  one  lot. 

713  Christ  on  Calvary,  two  pieces. 

A Roman  Bath. 

Christ  before  Pilate. 

Four  pieces,  one  lot. 

714  Ten  engravings  of  landscapes,  engraved  by  Parboni  Gmelin.  One 

lot. 

715  Seven  lithographs,  views  in  France,  etc.  One  lot. 

716  Eighteen  engraved  maps  (about  1740),  and  one  large  view,  State  of 

New  York.  Nineteen  pieces,  one  lot. 

717  Nine  engraved  maps,  Oxfordshire,  Essex,  etc.  (1733).  One  lot. 

718  Two  fancy  heads,  lithographed  by  Lassalle,  and  five  other  pieces, 

various.  Seven  pieces,  one  lot. 

719  Forty-one  small  portraits  relating  to  French  history,  some  water- 

stained.  One  lot. 

720  Fourteen  portraits:  Fillmore,  Buchanan,  and  others.  One  lot. 

721  The  Siege  of  Plymouth,  A.D.  1874,  and  eleven  other  pieces,  various. 

One  lot. 

722  Eight  portraits:  Paderewski,  Bismarck  (two),  Emperor  William  of 

Germany,  etc.  One  lot. 

723  Glacier  De  Rosenlaui,  Le  Pont  Du  Diable,  and  six  other  pieces. 

Eight  pieces,  one  lot. 

724  View  of  Charlestown,  engraved  by  Samuel  Smith  after  Leitch,  in 

1776.  Good  original  impression.  Margin  slightly  torn. 

725  A view  of  the  city  of  Montreal  and  the  river  St.  Lawrence  from  the 

mountain.  Engraved  by  John  Bfuck  after  E.  Walsh.  View  of  the 
city  of  New  York  taken  from  Long  Island.  View  of  the  city  and 
harbor  of  New  York  taken  from  Mount  Pitt.  Three  pieces,  one 
lot. 


109 


726  Six  views  of  American  waterfalls,  engraved  by  Maurice,  Mazell, 

and  Fougeron.  Also  an  American  farm,  engraved  by  Peak.  Seven 
pieces,  one  lot. 

727  Five  views  of  Roman  edifices.  Aquatints  by  Cooper  from  his  own 

designs.  One  lot. 

728  Six  views  of  American  scenery.  Aquatints  executed  in  1809  by  J. 

W.  Edy  after  G.  B.  Fisher.  Also  one  duplicate,  Fall  of  Mont- 
morenci.  Fine  impressions,  printed  in  colors.  Seven  pieces,  one 
lot. 

729  Eleven  views  of  buildings,  various;  map  of  Virginia;  view  of  Ni- 

agara Falls.  Thirteen  pieces,  one  lot. 

730  Eleven  etchings  of  homes  of  prominent  American  men  of  letters. 

One  lot. 

731  Sixty-two  miscellaneous  engravings  of  American  subjects,  views 

and  illustrations,  etc.  One  lot. 

732  Portrait  of  Sir  Seymour  Haden,  etched  by  William  Strang  (two), 

and  sixteen  other  miscellaneous  etchings.  Eighteen  pieces,  one 
lot. 

733  Garrick  and  his  Wife,  after  Hogarth,  and  eleven  other  engravings 

and  etchings,  various.  Twelve  pieces,  one  lot. 

734  Thirteen  views,  various.  Europe,  the  Holy  Land,  etc.  One  lot. 

735  Thirty  engravings  of  Scriptural  subjects.  One  lot. 

736  Twenty-three  woodcut  portraits  of  famous  painters,  photograph  of 

beauties  of  the  court  of  King  Charles  II.,  Mrs.  Siddons,  after 
Lawrence,  and  three  other  portraits.  Twenty-eight  pieces,  one  lot. 

737  Four  Japanese  prints  in  colors,  by  Hiroshige,  Toyokuni,  and  others. 

One  lot. 

738  Very  interesting  lot  of  several  hundred  engravings  of  various  sub- 

jects, including  portraits,  landscapes,  illustrations  to  poems, 
novels,  etc.  Mounted  upon  cards.  To  be  sold  as  one  lot. 

739  A series  of  ancient  allegorical,  historical,  and  legendary  paintings, 

which  were  discovered  in  the  summer  of  1805  on  the  walls  of  the 
Chapel  of  the  Trinity  at  Stratford-upon-Avon  in  Warwickshire. 
Forty-eight  sheets,  some  duplicates,  but  the  set  incomplete. 


no 


740  Gems  from  the  European  picture  galleries.  Forty-nine,  after  various 

masters.  One  lot. 

741  Gems  from  European  picture  galleries.  One  hundred  and  fifteen 

pieces  in  a portfolio.  One  lot. 

742  Specimens  of  the  works  of  the  best  ancient  and  modern  sculptors. 

Sixty  plates  (published  at  two  guineas  and  a half).  In  a port- 
folio, as  issued. 

743  Two  hundred  and  twenty-seven  small  but  curious  engravings  of 

Scriptural  subjects.  One  lot. 

744  One  hundred  portraits  (ninety-eight  engraved,  two  photographs), 

illustrating  the  Civil  War.  Many  are  proofs  before  letters.  All 
are  fine  impressions  in  perfect  condition.  An  unusually  fine  and 
interesting  collection.  One  lot. 

745  Forty-four  engravings  illustrating  “The  Life  of  George  Washing- 

ton/’ by  Washington  Irving  (Putnam,  1857).  Also  two  engraved 
title-pages  for  the  same  work.  Forty-six  pieces,  one  lot. 

746  Sixty-three  engravings,  after  Westall,  Stothard,  and  others.  Mostly 

Scriptural  subjects.  Engraver’s  proofs  on  India  paper.  Full  mar- 
gins. In  perfect  condition.  Some  dedication  proofs.  Fine  lot. 

747  The  Sistine  Chapel.  Chromolithograph  by  Loeillot,  after  Kohler, 

mounted.  Ceiling  of  the  Sistine  Chapel.  Chromolithograph, 
after  Pratese,  mounted  on  linen.  Two  pieces,  one  lot. 

748  St.  Mark’s,  Venice,  Mosque  at  Cordova,  Castle  Sant’  Angelo,  S. 

Vitalie,  Ravenna,  the  Roman  Forum,  Saint  Peter’s,  Duomo  at  Pisa, 
the  Coliseum, the  Appian  Way, the  Pantheon,  the  Certosa  of  Pavia, 
and  twelve  other  famous  buildings.  A set  of  lithographs,  each  one 
measuring  22  x 29  inches,  and  mounted  upon  stout  boards,  with 
tapes  for  hanging.  Fine  and  interesting  set  for  school  or  lecture 
hall.  Twenty-three  pieces,  one  lot. 

749  Fifty  engravings  of  modern  statues  and  bas-reliefs,  mounted  in 

leather-bound  scrap  book. 

750  Eighty-eight  woodcuts,  by  various  engravers,  illustrating  the  Bible. 

751  Album  of  favorite  engravings,  published  by  Villardi  of  Rome. 

Thirty-five  subjects,  bound  in  one  volume;  cloth  back. 

752  Le  Mobilier  de  la  Couronne  et  Des  Grandes  Collections,  etc.,  etc. 

Juliot,  Paris. 


hi 


753  The  Chess  Players;  or,  The  Game  of  Life.  A drawing  by  Morris 

Retzch  explained,  according  to  hints  from  himself,  by  C.  Borr  von 
Miltitz.  Willis  P.  Hazard,  Philadelphia,  1855. 

754  Student’s  Guide  to  Expressiqn.  Six  heads  from  Raphael’s  cartoons. 

Boards. 

755  Select  examples  of  the  ornaments  of  the  Middle  Ages  and  the 

Renaissance  period.  Twenty-eight  plates,  one  lot. 

756  Illustrations  to  the  “ Liberty  of  Rome.”  Designed  and  engraved  by 

C.  C.  Perkins.  Richard  Bentley,  1849.  Twelve  pieces,  in  a port- 
folio. 

757  Vita  Di  Rafaelle  Sanzio  Da  Urbino.  XII.  Tavole  Disegnate  dai  fra- 

telli  Riepenhausen  in  Roma.  Complete  set.  Twelve  plates,  as  is- 
sued. 

758  Seven  events  in  the  Life  of  Robert  Bruce.  Drawn  by  H.  C.  Selous, 

and  etched  by  Horsborough.  Complete  set,  as  issued.  Paper 
covers.  * 

759  Lady  Hamilton’s  attitudes.  Twelve  plates,  engraved  by  Thomas 

Piroli,  after  the  drawings  by  Frederick  Rehberg.  Original  set, 
water-stained. 

760  Illustrations  of  “ Rip  Van  Winkle.”  Designed  and  etched  by  Felix 

O.  C.  Darley  for  the  members  of  the  American  Art  Union,  1848. 
Original  set,  as  issued.  Paper  covers. 

761  “ Andreana.”  Containing  the  trial,  execution,  and  various 

matters  connected  with  the  history  of  Major  John  Andre.  Horace 
W.  Smith,  Philadelphia,  1865.  One  of  an  edition  of  twenty-five 
copies  in  folio.  Sheets  and  portraits.  Unbound.  Paper  cover,  as 
issued. 

t 

762  Beauties  of  Claude  Lorraine.  Consisting  of  twenty-four  landscapes 

selected  from  the  Liber  Veritatis,  and  engraved  by  eminent  en- 
gravers. W.  B.  Cooke,  London,  1825.  Fine  original  set,  as  is- 
sued. With  the  portrait  of  Claude  Lorraine  engraved  by  Ward. 

763  The  Hours  of  Raphael.  Twelve  photographs  and  key,  in  a portfolio. 

764  Treasures  of  Art,  Industry,  and  Manufacture  represented  at  the 

International  Exhibition,  1876.  Clay,  Cosack  & Co.,  Buffalo,  N. 
Y.,  1877.  Five  parts,  containing  ten  plates  in  colors  and  descrip- 
tive text. 


112 


765  Turner  Gallery  (D.  Appleton  & Co.).  Parts  one  to  twenty-five. 

Three  engravings,  with  descriptive  text,  were  issued  with  each 
part.  One  lot. 

766  Les  Principaux  Tableaux  de  la  Galerie  Royale  de  Dresde.  Litho- 

graphies D’Apres  les  Originaux.  Avec  des  explications  His- 
toriques  et  concernant  l’Art,  en  Allemand  et  en  Franqais.  Publies 
par  Franqois  Hanfstaengl,  Dresde,  1843. 

Text  and  124  lithographs;  nearly  all  very  fine  impressions,  and 
(with  the  exception  of  a few  spotted)  in  perfect  condition.  All  are 
on  India  paper.  Some  authorities  are  of  the  opinion  that  many 
important  pictures  in  the  Dresden  Gallery  are  better  reproduced 
in  this  set  than  in  any  engravings  yet  executed. 

To  be  sold  as  a collection.  In  a portfolio. 


DRAWINGS 

DRAWINGS  BY  WILLIAM  BLAKE 

% 

Born  at  London  in  1757;  died  there  in  1827.  At  an  early  age  he  was  apprenticed 
to  James  Basire  the  engraver,  who  employed  him  in  making  drawings  in  Westminster 
Abbey  and  other  churches,  thereby  awakening,  probably,  that  love  for  Gothic  beauty 
which  is  apparent  in  so  many  of  his  works.  In  1778  he  began  to  engrave  a little  for 
the  publishers,  and  four  years  later  married  and  opened  a print-seller’s  shop  in  Broad 
Street.  In  1787  Blake  issued  his  “ Songs  of  Innocence,”  and  in  1793  the  “ Gates  of 
Paradise.”  Next  came  “The  Songs  of  Experience,”  and  then  a series  of  Prophetic 
Books,  which  were  then,  and  still  remain,  unintelligible  to  the  majority  of  readers.  In 
1797  he  was  employed  by  Edwards  the  bookseller  to  illustrate  Young’s  “ Night 
Thoughts,”  and,  later,  Blair’s  “ Grave.”  Blake’s  last  work — and  perhaps  his  greatest — 
was  the  series  of  “ Twenty-one  Inventions  for  the  Book  of  Job.”  These,  issued  in  1826. 
are  among  his  best  known  works,  and  would,  unaided,  rank  him  among  the  most 
original  artists  England  has  produced. 

The  drawings  catalogued  below  were  shown  at  the  Museum  of  Fine  Arts,  Boston, 
during  the  Exhibition  of  Books,  Water-colors,  Engravings,  etc.,  by  William  Blake, 
made  in  February  and  March,  1891.  At  tha^time  they  were  prefaced  by  a note  pointing 
out  that  it  was  “ impossible  to  assign  a date  to  any  of  them,  or  even  to  fix  their  status, 
whether  as  preliminary  sketches,  or  memoranda,  or  copies  made  for  some  unknown 
purpose.”  In  the  catalogue  they  were  “ grouped,  so  far  as  possible,  under  the  titles 
of  the  words  in  which  they  most  prominently  appear.”  This  arrangement  has  been 
here  followed.  The  letter  B and  the  number  after  each  drawing  refers  to  the  catalogue 
of  the  Boston  Exhibition. 

767  Three  figures,  naked,  reclining  (on  the  banks  of  a river?)  ; one  fig- 
ure on  the  left,  two  on  the  right, the  feet  turned  towards  the  middle 

113 


8 


of  the  composition.  India-ink  outlines,  with  washes  of  color  and 
India  ink,  on  untinted  paper.  See  “ The  Marriage  of  Heaven  and 
Hell,”  page  2.  (B.,  32.) 

768  A naked  woman,  seen  from  the  back,  reclining  on  the  banks  of  a 

stream,  and  playing  with  a naked  infant.  To  the  left,  in  the  mid- 
dle distance,  the  upper  half  of  a figure,  painted  yellow,  with  rays 
above  the  head,  apparently  sinking  (emblematic  of  the  setting 
sun?).  Pen-and-ink  outlines,  brilliantly  colored,  on  untinted 
paper.  See  “The  Marriage  of  Heaven  and  Hell/’  page  11.  (B.. 

34-) 

769  Five  naked  figures  squatting  on  the  ground,  the  middle  figure. 

bearded,  seen  in  front  view;  the  others,  two  on  either  side,  in 
profile,  facing  the  middle  figure.  India  ink  on  blue  paper.  See 
“ The  Marriage  of  Heaven  and  Hell,”  page  16.  This  drawing  has 
a piece  missing  from  its  upper  portion.  (B.,  36.) 

770  A young  man,  naked,  sitting  on  the  ground,  with  his  arms  behind 

him,  looking  towards  the  right  and  upward.  India  ink,  with  body 
color  washes,  on  dark,  bluish-gray  paper.  See  “ The  Marriage  of 
Heaven  and  Hell,”  page  21.  (B.,  37.) 

# 

771  Nebuchadnezzar,  naked,  with  a long  beard,  creeping  on  all  fours 

towards  the  left.  India  ink,  on  oiled  paper.  See  “ The  Marriage 
of  Heaven  and  Hell,”  page  24.  (B.,  38.) 

772  A naked  man,  among  clouds,  in  a springing  action,  the  left  leg  fore- 

shortened, the  arms  uplifted  and  extended,  the  head  turned  to- 
wards the  right ; a head  looks  down  upon  him  out  of  flames  in  the 
clouds.  Brown  outlines,  with  delicate  color  washes,  on  untinted 
paper.  For  “ The  Marriage  of  Heaven  and  Hell.”  (B.,  40.) 

773  A naked  male  figure  reclines  on  clouds  on  the  left,  the  left  leg 

stretched  out  towards  the  right.  In  the  left  hand  this  figure  twirls 
over  its  head  a scourge  of  three  tongues.  On  the  right,  running 
towards  the  right,  a naked  female,  with  streaming  hair,  the  head 
bowed  down,  the  face  buried  in  the  hands.  Brown  outlines,  with 
delicate  color  washes,  on  untinted  paper.  For  “ The  Marriage  of 
Heaven  and  Hell.”  (B.,  43.) 

774  Four  draped  figures  huddled  together,  the  face  only  of  the  central 

figure  visible.  The  hair  of  this  figure  streams  out  towards  both 
sides.  Brown  outlines,  with  delicate  color  washes,  on  untinted 
paper.  See  “The  Marriage  of  Heaven  and  Hell,”  page  10.  (B., 

44-) 


114 


DRAWINGS  FOR  “AMERICA,  A PROPHECY” 

775  A winged  giant,  in  an  attitude  of  despair,  with  his  head  buried  be- 

tween his  knees,  sits  on  the  left,  among  ruins.  Seated  near  him, 
to  the  right,  a naked  woman,  with  two  naked  children,  also  in  de- 
spair. In  the  foreground,  part  of  a cannon  and  a broken  sword. 
India  ink,  on  untinted  paper.  In  the  printed  version  the  giant  is 
shown  chained  to  the  ground  by  the  wrists.  (B.,  46.) 

776  A young  man,  naked,  chained  to  a rock,  like  Prometheus,  extended 

diagonally  across  the  picture,  with  the  head  to  the  left  above.  In 
the  upper  left-hand  corner  a bare  tree;  in  the  lower  left-hand 
corner,  roots.  India  ink,  with  color  washes,  on  untinted  paper. 
Page  2.  (B.,  47.) 

777  A draped  female  figure,  in  profile  towards  the  left,  sitting  on  a stone 

platform.  Before  her  stands  a girl  in  a long  gown;  on  the  plat- 
form behind  her  reclines  a naked  boy,  his  back  resting  against  her 
back.  India-ink  outlines,  with  color  washes,  on  untinted  paper. 
See  page  3 (title-page),  left  half  of  upper  group.  Gilchrist,  I., 
page  xxiii.  (B.,  48.) 

778  Several  naked  corpses  lying  on  the  ground ; a woman,  stretched  but 

over  them,  her  head  towards  the  right,  caresses  one  of  the  corpses. 
India  ink,  with  slight  color  washes,  on  untinted  paper.  The  back- 
ground is  a black  mass,  with  red  lights  breaking  through.  See 
page  3 (title-page),  lower  group.  (B.,  50.) 

779  A naked  man,  seen  from  the  back,  floating  among  clouds,  his  head 

towards  the  left.  He  holds  a torch,  which  he  stretches  out  hori- 
zontally towards  the  left.  India  ink  over  lead-pencil  outlines,  on 
paper  grounded  dark  gray.  See  page  5.  (B.,  52.) 

780  In  the  centre  a naked  man,  seen  full  face,  kneels  on  the  ground,  his 

head,  which  he  holds  in  both  hands,  thrust  forward.  On  the  right 
another  naked  man  kneeling  on  his  right  knee,  turned  somewhat 
to  the  right,  and  supporting  himself  on  the  ground  with  his  right 
arm.  Background  of  rocks  and  clouds.  India  ink  over  pencil  out- 
lines, on  dark  bluish-gray  paper.  See  page  6.  ,(B.,  53.) 

781  An  angel,  without  wings,  flying  through  the  air  towards  the  right, 

carrying  a pair  of  scales.  India  ink,  washed  with  color,  on  un- 
tinted paper.  See  page  7,  upper  part.  Gilchrist,  I.,  opp.  page  no. 
(B.,  540 

115 


782  An  angel,  without  wings,  seen  from  the  back,  ascending  through 

clouds,  holding  aloft  a sword.  India  ink,  with  color  washes,  on  un- 
tinted paper.  See  page  7,  upper  part.  Gilchrist,  I.,  opp.  page  no. 
(B.,  55-) 

783  A naked  man,  his  hands  grasping  the  back  of  his  head,  falling 

through  the  air  into  flames.  India  ink,  washed  with  red  and 
brown,  on  dark  blue  paper.  See  page  7,  lower  part.  Gilchrist,  I., 
opp.  page  no.  (B.,  56.) 

784  A robed  bearded  male  figure,  seated  on  clouds,  facing  the  spectator. 

the  arms  extended  almost  horizontally.  India  ink  on  blue  paper, 
with  washes  of  carmine  and  flesh  color.  See  page  io.  Compare 
“ Illustrations  of  the  Book  of  Job,”  Plate  14.  (B.,  60.) 

785  A naked  man,  seen  full  front,  head  slightly  turned  to  the  left,  kneel- 

ing on  his  right  knee,  arms  extended  almost  horizontally,  amidst 
flames.  India  ink,  on  dark  bluish-gray  paper.  See  page  12.  (B., 

61.) 

786  A woman  and  two  children,  riding  on  a serpent  towards  the  right. 

In  the  sky  the  crescent  moon  and  two  birds.  India  ink,  with  color 
washes,  on  blue  paper.  See  page  13.  Gilchrist,  I.,  opp.  page  108. 
See  also  “ The  Book  of  Thel,”  page  8,  tail-piece,  where  the  same 
design  appears  reversed.  (B.,  62.) 

787  A female  corpse,  naked,  outstretched  upon  a rock  at  the  seashore,  an 

eagle  about  to  tear  the  abdomen.  India  ink,  with  color  washes,  on 
gray  paper.  Gilchrist,  L,  page  no.  (B.,  64.) 

788  Three  naked  women  huddled  together,  so  that  the  faces  of  none  of 

them  are  seen,  partly  immersed  in  a lake  of  fire,  and  surrounded 
by  flames.  India  ink,  with  color  washes,  on  bluish  paper.  See 
page  17.  (B.,  66.) 

789  A naked  woman,  crouching,  in  profile  towards  the  left,  the  face  hid- 

den between  the  knees,  in  a mass  of  flame.  On  the  left  a smaller 
naked  figure,  seen  from  the  back,  rises  out  of  the  flames.  India 
ink  over  pencil  outlines,  on  paper  grounded  dark  gray.  See  page 
17  for  the  larger  of  the  two  figures.  (B.,  67.) 

DRAWING  FOR  “ MILTON  ” 

790  On  the  right  a naked  male  figure,  standing  on  a pedestal,  writhing  in 

flames.  On  the  left  two  other  naked  figures,  standing,  looking  on 
in  fear.  India  ink,  washed  with  color,  on  untinted  paper.  A fac- 
simile of  the  plate  on  which  this  design  appears  is  given  in  Swin- 
burne’s “ Blake  ” on  page  258.  (B.,  78.) 

116 


DRAWINGS  FOR  BLAIR’S  “GRAVE” 


791  An  angel  without  wings,  descending  from  heaven,  head  lowermost, 

blowing  a trumpet.  Pen-and-ink  outlines,  with  India  ink  and 
color  washes,  on  untinted  paper.  Title-page.  (B.,  79.) 

792  A robed  female  figure,  standing,  in  profile,  turned  towards  the  left, 

the  face  buried  in  the  hands.  India  ink,  with  very  slight  traces  of 
red  chalk,  on  untinted  paper.  See  figure  to  right  in  “ Death  of  the 
Strong  Wicked  Man.”  See  also  group  of  two  small  figures,  “ Je- 
rusalem,” page  19,  in  the  right-hand  foreground.  (B.,  80.) 

793  Two  figures  of  men,  walking;  the  third,  an  old  man,  creeping  on  all 

fours,  down  a flight  of  stone  steps  among  rocks,  seen  through  an 
arched  opening  in  the  rocks.  Brown  lines  and  washes,  with  traces 
of  red  chalk,  on  paper  of  a grayish  tint.  See  “ The  Descent  of 
Man  into  the  Vale  of  Death,”  upper  part.  (B.,  81.) 

794  A group  of  three  angels,  the  one  in  the  middle  blowing  a trumpet, 

other  trumpets  visible  on  either  side  of  the  central  trumpets. 
From  the  trumpets  issue  flames.  The  angel  on  the  left  sheathing 
his  sword,  the  one  on  the  right  drawing  it.  Red  chalk  and  pen- 
and-ink  outlines,  with  India  ink  washes,  on  dark  bluish  paper. 
See  “ The  Day  of  Judgment,”  lower  middle  group.  (B.,  89.) 

795  A bald-headed  man,  naked,  apparently  trying  to  hold  down  three 

other  naked  male  figures,  who  are  endeavoring  to  rise  out  of  the 
ground.  Flames  shooting  up  in  the  background.  India  ink,  with 
red  chalk,  and  slight  red  washes,  on  untinted  paper.  See  “ The 
Day  of  Judgment,”  lowest  middle  group.  (B.,  90.) 

796  The  Reunion  of  the  Soul  and  the  Body.  The  figure  of  a naked 

youth  issuing  from  the  grave ; a draped  female  figure  descends 
from  the  sky,  head  downward,  and  embraces  the  youth.  Flames 
issue  from  tombs  on  either  side.  India  ink,  with  color  washes,  on 
untinted  paper.  (B.,  92.) 

797  The  Soul  Exploring  the  Recesses  of  the  Grave.  A female  figure, 

bearing  a light,  entering  a cave,  in  which  is  seen  a corpse  in  flames. 
On  the  roof  of  the  cave  a young  man,  who  looks  down  with  a ges- 
ture of  surprise.  Between  his  legs  is  seen  the  sickle  of  the  de- 
creasing moon.  India  ink,  with  very  slight  traces  of  red  chalk,  on 
untinted  paper.  (B.,  94.) 

798  Death’s  Door.  An  old  man  on  crutches  entering  a tomb.  On  the 

tomb  the  sitting  figure  of  a naked  young  man,  surrounded  by  the 

117 


rays  of  the  sun.  Pen-and-ink  outlines,  washed  with  color,  on  un- 
tinted paper.  (B.,  95.) 

UNIDENTIFIED  DESIGNS 

799  A naked  male  figure,  without  wings,  flying  among  clouds  out  of  the 

picture  and  towards  the  left.  On  the  right,  above  a cloud,  is  seen 
the  head  and  part  of  the  back  of  another  naked  figure,  apparently 
female.  India-ink  outlines,  with  brilliant  color  washes,  on  un- 
tinted paper.  (B.,  98.) 

800  Two  naked  figures,  male  and  female,  the  latter  seen  from  the  back, 

floating  upwards  and  towards  the  left  in  a sheet  of  flame,  across  a 
sky  barred  with  clouds.  India-ink  outlines,  with  India  ink  and 
brilliant  color  washes,  on  untinted  paper.  (B.,  99.) 

801  A naked  male  figure,  floating  on  the  back,  in  flames.  The  left  arm  is 

extended  upwards,  towards  the  left.  Under  this  arm  is  seen  the 
upper  part  of  a female  figure,  her  head  resting  on  her  two  hands. 
Leaning  against  the  head  of  this  figure,  on  the  right,  is  another 
female  head.  In  the  upper  right-hand  corner  a rock.  India  ink, 
with  color  washes,  on  untinted  paper.  (B.,  100.) 

802  A violently  contorted  figure,  floating  horizontally  through  flames, 

the  head  towards  the  left.  Around  the  upper  part  of  the  figure  is 
a white  cloth,  blown  out  into  the  air  beyond  the  head,  and  forming 
a kind  of  spiral  to  the  left  of  it.  India-ink  outlines,  with  India  ink 
and  color  washes,  on  untinted  paper.  (B.,  101.) 

803  A winged,  youthful  figure,  naked,  running  towards  the  right,  among 

clouds,  looking  out  of  the  picture,  the  left  arm  raised.  Outlines 
and  washes  in  brownish  black,  on  untinted  paper.  (B.,  102.) 

804  A winged  figure,  naked,  running  towards  the  right,  among  clouds, 

bearing  aloft  a torch  in  his  right  hand,  his  head  turned  so  that  only 
the  back  is  seen.  India  ink,  on  paper  grounded  a dark  warm  gray. 
(B„  103.) 

805  A male  figure,  seated,  bearded,  naked  above  but  draped  below,  the 

head  turned  to  the  left,  the  right  arm  extended,  pointing  towards 
the  sun  in  the  upper  left-hand  corner,  the  left  hand  resting  on  his 
knee.  To  the  right  the  trunks  of  a group  of  trees;  in  the  back- 
ground, clouds.  Figures  are  indicated  in  the  disk  of  the  sun.  India 
ink,  on  paper  grounded  slate  color.  (B.,  104.) 

118 


806  A naked  male  figure,  sitting  among  flames.  The  upper  part  of  the 
body  supported  on  the  left  arm,  almost  full  front;  the  head  turned 
to  the  left,  the  right  arm  raised,  the  right  hand,  with  fingers  out- 
stretched, held  up  before  the  forehead  as  if  in  the  act  of  maledic- 
tion. The  right  leg  extended  sideways  and  backwards  towards  the 
left,  apparently  on  a bank  of  some  kind,  the  left  leg  hanging  down 
in  front.  On  the  left  side,  above,  two  smaller  figures  floating  in 
space.  Red  chalk,  with  washes  of  India  ink  and  flesh  color,  on 
bluish  paper.  (B.,  106.) 


DRAWINGS  BY  VARIOUS  ARTISTS 

807  Full  morocco  bound  volume,  containing  twenty-four  drawings,  in 

the  majority  of  cases  executed  with  the  pen,  and  finished  with  a 
wash  of  sepia.  Among  the  artists  represented  are : Wille,  Draw- 
ing of  a Man’s  Head  (in  red  and  black  crayons)  ; Guercino,  Boy 
with  a Bird  (pen  and  wash)  ; Le  Pautre,  two  drawings  of  statues 
(pen  and  crayon)  ; Wattier,  Two  Musicians  (pencil)  ; Gaulli, 
Meeting  of  Saint  Elizabeth  and  Saint  Joseph  (pen  and  wash).  An 
interesting  collection. 

To  be  sold  as  one  lot. 

808  Volume,  containing  thirty-four  drawings.  This  collection  was 

formed  by  Sir  George  Hayter  (portrait  painter  to  the  late  Queen 
Victoria,  and,  in  1841,  appointed  Her  Majesty’s  Historical 
Painter),  and  was  given  to  his  son,  Angelo  C.  Hayter,  in  1864.  On 
the  inside  of  the  front  cover  is  pasted  an  engraved  card  as  follows : 
“ To  Angelo  C.  Hayter,  From  his  affectionate  Father,  Sir  George 
Hayter,  1864.” 

In  this  collection  are  many  interesting  drawings,  attributed  to 
various  famous  artists ; among  them  the  following: 

Berghem,  The  Piper,  a fine  pencil  drawing  on  vellum.  (This  seems 
to  be,  almost  certainly,  Berghem’s  original  drawing  for  his  etch- 
ing of  this  subject.)  Gandolfi,  two  drawings  of  heads  (pen)  ; 
Simone  da  Pesaro,  two  drawings  of  men  (red  chalk),  portrait  of 
a man,  in  red  and  black  chalk,  ascribed  to  an  artist  of  the  school 
of  Guido,  but,  seemingly,  by  a Dutch  or  German  master ; Jacopo 
Palma,  “ II  Giovine,”  Saint  George  (pen  and  wash)  ; Della  Bella, 
Man  with  a Bow  (pen). 

To  be  sold  as  one  lot. 

119 


BEERESTRAATEN,  JAN 

Born  at  Amsterdam  in  1622;  died  there  in  1687. 


809  A Vessel  Saluting.  On  the  land  a triumphal  arch  and  a village. 
Pencil  drawing. 

Two  Drawings  of  Sea  Ports,  by  Everdingen.  Sepia. 

Head  of  a Man,  by  Van  Vliet.  Pencil. 

A Skirmish,  signed  E.  V.  Velde  and  dated  167?.  Pencil,  washed  with 
sepia. 

Five  pieces,  one  lot. 


BERGHEM,  NICOLAAS 

Born  at  Haarlem  in  1620;  died  at  Amsterdam  in  1683. 

810  A peasant,  seated,  seen  from  the  back.  Crayon. 

The  Ford.  Wash  drawing. 

A peasant,  dancing.  Crayon,  touched  with  red  and  white  chalk,  on 
blue  paper,  by  Dusart. 

Three  pieces,  one  lot. 


CAVEDONE,  JACOPO 

Born  at  Sassuolo,  in  the  Modenese,  in  1577;  died  at  Bologna  in  1660.  A pupil  of 
Annibale  Caracci. 

81 1 Head  of  an  Old  Man.  Chalk  drawing,  the  high  lights  touched  in 
with  white  lead,  which  has  turned  to  dark  gray  with  age. 

Head  of  a Man,  attributed  to  Guido  Reni. 

Two  Young  Men.  Red  and  black  chalk  drawing,  by  Jacopo  da  Em- 
poli,  and  three  others. 

Six  pieces,  one  lot. 


LEECH,  JOHN 

Born  at  London  in  1817;  died  in  1864.  The  eminent  English  illustrator. 

812  “ The  Lord  Mayor  Locks  Temple  Bar.”  Pen-and-ink  drawing, 

finely  finished  in  water  color.  Signed,  J.  L. 


20 


MAYER,  FRIEDRICH 

Born  in  1825;  died  in  1875.  He  painted  chiefly  Alpine  scenes. 

813  Seven  fine  pencil  drawings  of  various  scenes  in  the  Tyrol  and  else- 

where. One  lot. 

NICHOLSON,  FRANCIS 

Born  at  Pickering,  in  Yorkshire,  in  1753;  died  at  London  in  1844.  In  1789  he  ex- 
hibited for  the  first  time  at  the  Royal  Academy,  and  in  1804  he  became  one  of  the 
original  members  of  the  Water  Color  Society,  where  he  exhibited  till  1815. 

814  View  in  Borrowdale.  Water  color. 

Landscape,  with  a farmhouse,  a crippled  soldier  seated  on  a bank 
to  the  left.  Signed,  “ H.  Robbins,  ’63.” 

Two  pieces,  one  lot. 

PARMIGIANO,  FRANCESCO  MAZZUOLA 

Born  at  Parma  in  1504;  died  in  1540.  A pupil  of  Raphael  and  of  Michel-Angelo. 

815  A woman,  seated,  with  a lyre.  Red  chalk. 

The  Good  Samaritan.  Pen  and  ink. 

A Prophet.  Pen  drawing,  washed  with  sepia,  by  Giordano. 

A Camp  Surprised,  by  Bernardo  Castelli. 

Four  pieces,  one  lot. 

PIETRO  DA  CORTONA  (PIETRO  BERRETTINI) 

Born  at  Cortona  in  1596;  died  at  Rome  in  1669. 

816  A Satyr,  kneeling,  seen  from  the  back.  Red  chalk. 

Man  in  Armor,  riding  on  a Horse.  Pen  drawing,  touched  with  red 
chalk,  by  Borzone. 

Mucius  Scaevola  before  King  Porsenna.  Pen  drawing,  washed  with 
sepia,  the  high  lights  touched  in  with  white  lead,  which  has  turned 
dark  gray  with  age.  This  drawing  once  formed  part  of  the  col- 
lection of  Sir  Joshua  Reynolds.  Part  of  his  stamp  can  still  be 
seen  in  the  lower  left-hand  corner  of  the  drawing. 

King  Henry  IV.  Receiving  the  Key.  Pen  drawing,  washed  with 
sepia. 

Four  pieces,  one  lot. 


121 


SCHUTZ,  CHRISTIAN  GEORG,  THE  YOUNGER 

Born  at  Florsheim  in  1758;  died  in  1823.  Painted  in  water  color,  scenes  on  the 
Rhine. 

817  Three  pencil  drawings  of  castles  on  the  Rhine.  One  lot. 

STOTHARD,  THOMAS 

Born  at  London  in  1755.  In  1785  he  was  made  an  Associate  of  the  Royal  Academy, 
and  in  1794  an  Academician.  Died  in  1834. 

It  is  said  that  Stothard  made  upwards  of  five  thousand  designs  for  books,  three 
thousand  of  which  were  used. 

818  Three  Ladies  and  a Masked  Cavalier.  Painting  upon  paper.  In  ex- 

cellent preservation.  An  interesting  piece.  PTom  the  Sir  Edmond 
Temple  collection. 

SWANEVELT,  HERMAN 

Born  at  Woerden  in  1620.  A pupil  of  Claude  Lorraine. 

819  Landscape,  with  a River.  Wash  drawing. 

Cattle  being  Led  on  Board  a Boat.  Pen  and  wash  drawing,  by 
Thomas  Wijck  (1616-1677),  and  four  other  drawings. 

Six  pieces,  one  lot. 

ZANDER,  CHRISTOPH  EDUARD 

Born  at  Radegast  in  1813.  In  1847  he  went  to  Abyssinia.  In  1868  he  was  made 
Minister  of  War  by  King  Theodore,  but  died  in  the  same  year. 

820  Portrait  of  the  artist  sketching. 

Two  drawings  of  trees. 

Drawing  of  cattle. 

All  are  in  sepia,  are  signed  with  the  monogram  of  the  artist,  and 
are  dated  1842. 

Four  pieces,  one  lot. 


821  Seventeen  drawings,  by  various  artists.  Some  of  these  are  from  the 
Sir  Edmond  Temple  collection ; the  majority  are  by  the  older 
masters.  An  interesting  lot. 


122 


822  A view  of  Naples. 

Eruption  of  Vesuvius,  June  15,  1794. 

Quaint  and  interesting. 

Two  pieces,  one  lot. 

823  Eleven  water  colors  and  drawings  by  various  artists.  In  this  lot 

are  included  compositions,  landscapes,  a flower  piece,  head  of  a 
lioness  (signed  C.  C.  Townsend,  1869),  and  other  pieces.  One  lot. 


824  Liberotti  impronte.  Fifty-one  beautiful  gypsum  casts  from  in- 
taglios, contained  in  three  boxes,  bound  in  half  vellum  so  as  to  re- 
semble books.  A most  interesting  collection.  All  are  in  perfect 
condition.  Each  box  containing  an  index  of  subjects.  One  lot. 


FRAMED  PICTURES 

BAHMANN,  FERDINAND 

825 — Saint  John  (After  Domenichino) 

Good  condition.  Gold  frame. 

BELIN-DOLLET,  GUSTAVE 

826—  Peasants  Going  to  Work  (After  Millet) 

Signed  artist’s  proof  on  Japanese  paper.  Good  impression.  In  excellent  condition. 
Gold  frame. 

BRUN,  JO.  JOUANNI 

4 

827  — View  of  St.  Peter’s  and  the  Vatican 

Etched  in  1785.  Walnut  and  gold  frame. 

BURNET,  WILLIAM 

828—  The  Surprise 

Fine  proof  before  all  letters.  In  excellent  condition.  Gold  frame. 


123 


829 — 


BURT,  CHARLES 
Portrait  of  Longfellow 

Signed  artist’s  proof,  on  India  paper.  Mahogany  frame. 


CLAUDE  GELLEE  DE  LORRAINE 

830—  Le  Bouvier 

Robert-Dumesnil,  No.  8.  This  fine  etching  divides,  with  the  “Shere  Mill  Pond,” 
the  honor  of  being  the  finest  landscape  etching  in  the  world.  It  is  rare.  In  good  con- 
dition. Gold  frame. 


DAUBIGNY,  CHARLES 

831—  Les  Vendanges 

Proof,  with  only  the  name  of  Daubigny,  and  the  date,  1865.  Full  margins.  Fine. 
Black  and  gold  frame. 

“One  of  the  most  absolutely  harmonious  plates  I know.” — P.  G.  Hamerton,. 


DEYLAMYNCK,  P. 

832—  Portrait  of  Rembrandt  (After  Rembrandt) 

Good  impression.  In  excellent  condition.  Oak  frame. 


VANNI,  FRANCESCO 

833 — Saint  Peter  Reading  a Book 

A fine  drawing  in  red  chalk.  From  the  Sir  Edmond  Temple  Collection.  Oak  frame. 


IL  FLORENTINO  STEFANO 

A pupil  of  Giotto.  Died  1350. 

834 — A Monk  Standing 

Bare-headed,  holding  a staff  in  front  of  him,  and  facing  towards  the  right.  In  red 
chalk.  Slightly  repaired  at  the  bottom.  From  the  Sir  Edmond  Temple  Collection. 
Oak  frame. 


EICHENS,  FRIEDRICH  EDUARD 
Homer  und  die  Griechen  (After  Kaulbach) 


835- 


Fine  impression.  Full  margins.  Walnut  and  gold  frame. 

124 


FLAMENG,  LEOPOLD 

836 — Portrait  of  Seymour  Haden,  Seated 

Etched  from  life  in  1875.  Fine  impression.  In  excellent  condition. 


FORTUNY,  MARIANO 

837 — Arabe  Veillant  le  Corps  de  Son  Ami 

Beraldi,  No.  1.  Good  impression.  Full  margins.  Oak  frame.  This  is  one  of  the 
most  admired  of  Fortuny’s  etchings.  Good  impressions  are  scarce. 

838 — Anachorfcte 

Beraldi,  No.  16.  Good  impression.  Full  margins.  Oak  and  gold  frame.  One 
of  the  most  effective  of  Fortuny’s  etchings;  Scarce. 

839 — A Beggar,  Seated 

A very  fine  and  characteristic  original  drawing,  executed  in  pen  and  ink.  Good 
examples  of  Fortuny’s  drawings  are  becoming  each  year  harder  and  harder  to  secure, 
and  when  found  have  usually  brought  large  prices. 


HADEN,  SIR  SEYMOUR 

840 — Shere  Mill  Pond 

First  state.  Beautiful  impression.  Signed  artist’s  proof,  on  Japanese  paper.  In 
the  handwriting  of  the  etcher  is  written  in  the  lower  margin  “ 1st  st.”  Gold  frame. 

“ With  the  single  exception  of  one  plate  by  Claude,  this  is  the  finest  etching  of  a 
landscape  subject  that  has  ever  been  executed  in  the  world.  The  plate  by  Claude, 
alluded  to  above,  is  the  one  known  as  the  Bouvier.  Such  superiorities  as  it  may  have 
over  this  plate  of  Haden’s  are  compensated  by  other  and  different  superiorities  in  the 
English  master,  and  the  two  etchings  may  fairly  divide  our  suffrages.” — P.  G.  Hamer- 
ton,  “ Etching  and  Etchers,”  p.  305. 

841 — Calais  Pier 

Trial  proof  C.  On  the  lower  margin  the  etcher  has  written  “ Trial  C,  3 or  4 only.” 
Signed  artist’s  proof.  Fine  and  very  rare.  The  large  wave  on  the  left  is  worked  upon, 
and  the  sky  (which  was  commenced  in  trial  proof  B)  is  removed,  except  in  the  right- 
hand  corner  of  the  plate.  A peculiar  and  interesting  effect  has  been  produced  by  not 
inking  to  any  extent  the  plate  in  the  lower  left-hand  portion.  The  lines,  as  etched,  are 
plainly  visible,  but  they  are  white  lines,  embossed  but  not  inked.  Oak  and  gold  frame. 
Seymour  Haden,  writing  in  1875  to  Philip  Gilbert  Hamerton,  says  of  this  plate: 
“ I have  done  an  etching  of  Turner’s  ‘ Calais  Pier,’  36  inches  square,  which  is  by  many 
degrees  the  finest  thing  (if  I may  be  permitted  so  superlative  an  expression)  I have 


125 


done,  or  ever  shall  do.  I mean  to  publish  it  about  the  close  of  the  year.  I have  built 
a press  for  printing  it,  and  am  having  paper  made  expressly  and  real  sepia  (which  is 
magnificent  both  in  color  and  price)  got  from  the  Adriatic  for  the  work;  so  great 
things  ought  to  result.” 

This  letter  is  quoted  as  above  in  “ Philip  Gilbert  Hamerton:  Autobiography  and 
Memoir”  (page  386),  in  the  memoir  written  by  his  widow.  The  memoir  continues: 

“ And  the  result  was  certainly  by  far  the  finest  of  modern  etchings,  according  to 
Mr.  Hamerton’s  opinion.  In  some  particulars  he  preferred  the  ‘ Agamemnon,’  but 
the  size  of  the  ‘ Calais  Pier,’  as  an  increase  of  difficulty  was  to  be  considered,  and  if 
the  ‘ Agamemnon  ’ was  an  original  conception,  it  cannot  be  said  that  ‘ Calais  Pier  ’ 
was  a copy — so  much  being  due  to  interpretation.  Later  on,  when  my  husband  was 
in  possession  of  this  chef-d’oeuvre,  it  always  accupied  the  place  of  honor  in  the  house.” 


HUOT,  A. 

842 — La  Vierge  de  la  Deliverance  (After  E.  Hdbert) 


Fine  open  letter  proof,  on  India  paper.  Black  and  gold  frame. 


843— 


KELLER,  JOSEPH 
The  “ Disputa  ” (After  Raphael) 

Open  letter  proof.  Good  condition.  Walnut  and  gold  frame. 


844— 


LANDSEER,  THOMAS 

The  Deer  Pass 

Full  margins.  A little  soiled.  Gold  frame. 


LECOMTE,  NARCISSE 

845 — Beatrice  and  Dante  (After  Ary  Scheffer) 

Good  impression.  In  excellent  condition.  Gold  frame. 


LE  COUTEUX,  LIONEL 
Herbage  a Soreng  (After  Van  Marck) 


Open  letter  proof.  In  good  condition.  Oak  frame. 
126 


846— 


MANDEL,  JOHANN  AUGUST  EDUARD 

847 — Die  Lurlei  (After  Carl  Begas) 

Engraved  for  the  Berlin  Art  Union  in  1839.  Good  original  impression.  Gold  frame. 

848 — Raphael  at  the  Age  of  Fifteen  (After  Raphael) 

Proof  on  India  paper,  with  the  names  of  painter  and  engraver  only.  Full  margins. 
In  excellent  condition. 


MARC  ANTONIO  RAIMONDI 

849 — Mars,  Venus,  and  Cupid 

Bartsch,  No.  345.  Fine  impression.  In  perfect  condition.  Some  margin.  Rare 
of  such  quality.  Oak  frame. 

MILLET,  JEAN-FRANCOIS 

850 — The  Woman  Feeding  Her  Child 

Le  Brun,  No.  18.  Good  impression.  On  India  paper.  Gold  frame.  Millet’s 
daughter,  Madame  Heymann,  and  her  baby  served  as  models  for  this  plate. 


MORGHEN,  RAPHAEL 

851 — The  Repentant  Magdalen  (After  Murillo) 

Halsey,  No.  109.  Third  state  proof,  with  names  of  painter,  engraver,  and  of  Tofa- 
nelli  only.  Fine  impression.  In  excellent  condition.  This  state  sold  for  in  iu.  at  the 
George  Smith  sale,  and  for  £15  io^.  at  the  Macready  sale. 

852 — Apollo  and  the  Muses  on  Parnassus  (After  Raphael  Mengs) 

Halsey,  No.  137.  Original  impression.  In  good  condition.  Black  frame. 

853 — The  Transfiguration  (After  Raphael) 

Halsey,  No.  168.  Good  original  impression.  In  good  condition.  Full  margins. 
Gold  frame. 

854 — The  Assumption  of  the  Virgin  (After  Titian) 

Fair  impression,  but  trimmed  close  to  the  print.  Gold  frame. 


855- 


Another  of  the  Same 

Trimmed  close.  Walnut  frame. 
127 


MULLER,  JOHANN  FRIEDRICH  WILHELM 
856 — Madonna  di  San  Sisto  (After  Raphael) 

First  state.  Artist’s  proof  before  any  letters.  The  Madonna  and  Child  are  without 
a halo,  though  St.  Sixtus  and  St.  Barbara  have  one.  But  five  impressions  are  known 
to  exist  of  this  state  of  the  plate.  The  only  other  impression  in  this  country,  so  far 
as  can  be  ascertained,  is  in  the  Gray  Collection  at  Harvard.  In  the  catalogue  of  the 
Gray  Collection  it  is  recorded  that  impressions  in  this  state  have  been  sold  as  follows: 
Johnson  (1861),  £126;  Archinto  (1862),  3,000  francs;  Marshall  (1864),  £86.  A magnifi- 
cent impression.  Full  margins.  In  perfect  condition.  Gold  frame. 


PARRISH,  STEPHEN 

857 — Fishermen’s  Houses,  Cape  Ann 

Signed  artist’s  proof.  Fine.  Mahogany  frame.  One  of  the  best  etchings  produced 
in  America. 

PERFETTI,  ANTONIO 

858 — Sibylla  Samia  (After  Guercino) 

Engraved  in  1833  from  the  painting  in  the  Uffizi  Gallery,  Florence.  Good  original 
impression.  In  excellent  condition. 


128 


FOURTH  EVENING'S  SALE 

Thursday,  cMarch  28th 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  7.30  O'CLOCK 

859 — Europe,  Asia,  Africa,  America 

Four  photographs  after  marble  groups.  All  are  framed  in  oak.  One  lot. 

860—  Eleven  Photographs  Relating  to  German  Mythology 

Seemingly  taken  from  a frieze  by  Kaulbach.  Black  and  gold  frames.  One  lot. 

861 — Remains  of  a Greek  Temple 

Carbon  photograph.  Black  frame. 

PIRANESI,  GIAMBATTISTA 

862 — View  of  the  Interior  of  Santa  Maria  Maggiore 

Good  original  impression.  With  margin.  Bird’s-eye  maple  frame, 

POTTER,  PAUL 

863 — Les  Deux  Boeufs  qui  se  Battent 

Bartsch,  No.  7.  In  good  condition.  Oak  frame. 

864 — Le  Vacher 

Bartsch,  No.  14.  The  second  plate  of  this  subject.  Fourth  state,  with  “ Paulus 
Potter  in  et  f.  1649.”  In  good  condition.  Oak  frame. 


9 


129 


865— 


RAIMBACH,  ABRAHAM 
Distraining  for  Rent  (After  David  Wilkie) 

Fine  open  letter  proof,  on  India  paper.  In  excellent  condition. 


RICHOMME,  JOSEPH  THEODORE 

866 — The  Triumph  of  Galatea  (After  Raphael) 

Engraved  in  1820,  after  the  fresco  in  the  salon  of  the  Villa  Farnesina  at  Rome. 
Good  original  impression,  but  somewhat  spotted  with  mildew. 


REMBRANDT  VAN  RYN 

867 — ’ Ecce  Homo 

Ch.  Blanc,  No.  52.  Bartsch,  No.  77.  Claussin,  No.  82.  Wilson,  No.  82.  The 
lower  margin  has  been  cut  off,  and  with  it  the  name  of  Rembrandt,  etc.  This  impres- 
sion is  not  earlier  than  the  third  state.  In  good  condition.  Bird’s-eye  maple  frame. 
This  is  Rembrandt’s  largest  etching,  and,  judging  by  the  number  of  studies  he  made 
for  the  various  figures,  the  one  to  which  he  devoted  the  greatest  amount  of  care. 
Each  separate  countenance  is  worthy  of  study,  differing  in  expression,  but  all  domi- 
nated by  the  same  feelings  of  cruelty,  mockery,  and  brutality. 

868 — The  Three  Crosses 

Ch.  Blanc,  No.  53.  Bartsch,  No.  78.  Claussin,  No.  81.  Wilson,  No.  81.  Third 
state.  Extremely  rare.  A magnificent  impression.  Very  rich  in  dry-point  work. 
With  margins.  In  perfect  condition.  Gold  frame.  This  superb  plate  is  one  of  the 
most  remarkable  interpretations  of  the  Crucifixion  in  all  Christian  art,  and  is  a master- 
piece both  in  conception  and  in  execution.  It  is  of  the  greatest  rarity.  So  fine  an 
impression  as  this  one  is  hardly  to  be  met  with  outside  the  great  collections. 

869 — The  Descent  from  the  Cross  (The  large  plate) 

Ch.  Blanc,  No.  56.  Bartsch,  No.  81.  Claussin,  No.  83.  Wilson,  No.  83.  Fourth 
state,  with  the  address  of  Justus  Danckerts.  In  excellent  condition.  Bird’s-eye  maple 
frame. 

870 — Christ  Healing  the  Sick  (“  The  Hundred  Guilders  Print  ”) 

Ch.  Blanc,  No.  49.  Bartsch,  No.  74.  Claussin,  No.  78.  Wilson,  No.  78.  Third 
state,  according  to  Ch.  Blanc;  second  state,  according  to  Bartsch.  An  excellent  im- 
pression. In  perfect  condition.  Gold  frame.  This  is  Rembrandt’s  masterpiece,  and 
is  accounted  to  be  the  finest  etching  in  the  history  of  the  art.  Good  impressions  have 
always  been  very  scarce,  and,  of  late  years,  have  been  well-nigh  impossible  to  procure 
at  any  price. 


130 


SEYMOUR,  SAMUEL 

871 — View  of  the  City  of  New  York  in  1803  (After  the  painting  by 

William  Birch) 

In  excellent  condition.  Walnut  frame. 


SMITH,  H.  WRIGHT 

872 — Portrait  of  Edward  Everett  (After  M.  Wright) 

India  proof.  Signed  by  Edward  Everett.  Good  impression.  Gold  frame. 


STABLER,  J.  C. 

873—  Henry  VII.  Chapel 

Etched  by  J.  Morton  and  aquatinted  by  J.  C.  Stadler  in  1810.  Good  original  im- 
pression. With  margins. 


STEINLA,  MORITZ 

874 — Madonna  di  San  Sisto  (After  Raphael) 

Passavant,  II.,  240.  Engraved  in  1847,  after  the  upper  end  of  the  canvas  had  been 
unrolled  and  the  top  of  the  curtain  with  the  rod  and  rings  had  been  brought  to  light. 
A good  impression.  In  excellent  condition.  Gold  frame. 


STRANG,  WILLIAM 

875 — Portrait  of  Seymour  Haden 

Etched  from  life.  Print  state.  Gold  frame. 


STRANGE,  SIR  ROBERT 

876 — King  Laomedon  Refuses  to  Neptune  and  Apollo  His  Tribute  for  the 
Construction  of  the  Walls  of  Troy  (After  Salvator  Rosa) 

Good  original  impression.  Gold  frame. 


877 — 


TIEBOUT,  C. 

The  Battle  of  Lexington  (After  Tisdale) 


TISSOT,  JAMES  J. 

October 


878— 

Signed  artist’s  proof  of  this  magnificent  dry  .point.  With  the  stamp  of  the  artist. 
Rare  of  such  quality.  Oak  frame. 

879—  The  Emigrant  (The  smaller  plate) 

Signed  artist’s  proof.  Fine.  In  the  margin  the  artist  has  written  “ 1st  p.,”  i.e., 
“ First  proof.”  Oak  and  gold  frame.  Rare. 


TOSCHI,  PAOLO 

880 — Group  of  Cherubs  and  Angels 

After  Correggio’s  fresco  in  the  Church  of  San  Giovanni  Evangelista. 

881 — Group  of  Cherubs  and  Angels,  one  having  a Violin 

After  Correggio’s  fresco  in  the  Church  of  San  Giovanni  Evangelista.  This  and 
the  impression  above  are  remarque  proofs  on  India  paper,  and  are  of  superb  quality. 
Only  thirty-three  impressions  (all  previously  subscribed  for)  were  issued  in  this  state. 
Upon  the  lower  margin  of  each  proof,  in  the  handwriting  of  Toschi,  is  written,  “ Prova 
d’etichetta  scelta  da  Paolo  Toschi.”  These  impressions  are  as  fine  as  have  been  offered 
for  sale  in  Europe  or  in  America  for  many  years.  Full  margins.  Black  and  gold 
frames.  . 

UNKNOWN 

882 — General  View  of  Rome,  showing  Piazza  di  Popolo 

Aquatint.  In  good  condition.  Walnut  frame. 

883 — George  Washington  (After  Gilbert  Stuart) 

“ From  a painting  in  the  possession  of  Mr.  Pierrepont  of  Brooklyn  Heights.” 
Good  condition.  Wood  frame. 

884 — Portrait  of  Schiller 

Good  condition.  Full  margins.  Mahogany  frame. 


WAGNER,  JOSEPH 

885 — The  Last  Supper  (After  Leonardo  da  Vinci) 

Very  fine  proof  before  letters,  before  the  names  of  painter  and  engraver,  and  with 
only  the  name  of  Felsing,  the  printer.  Full  margins.  Excellent  condition.  A beauti- 
ful impression.  Gold  frame. 


132 


886 — The  Last  Supper  (After  Leonardo  da  Vinci) 

India  proof,  with  names  of  painter,  engraver,  and  printer  only.  Fine  original  im- 
pression. With  full  margins.  Gold  frame. 


WALLIS,  R. 

887 — Hastings  (After  J.  M.  W.  Turner) 

A fair  impression.  Engraved  in  1851.  Black  and  gold  frame. 


WALTNER,  CHARLES 

888 — Harmony  (After  Frank  Dicksee) 

Very  fine  proof  on  vellum,  with  the  names  of  painter  and  etcher,  and  the  date, 
1879,  scratched  in  the  lower  margin.  Gold  frame. 


WHISTLER,  J.  McNEILL 

889 — Limehouse 

Wedmore,  No.  37.  One  of  the  sixteen  “ Thames  Etchings.”  Good  impression.  In 
excellent  condition. 

890 — The  Forge 

Wedmore,  No.  63.  An-  exceedingly  rare  dry  point.  This  impression . is  on  thin 
Japanese  paper,  and  is  of  unusually  good  quality.  One  of  the  “ Thames  Etchings.” 

Of  this  plate  Wedmore  writes:  “ It  was  etched  in  Brittany.  The  effect  aimed  at  in 
this  audacious  dry  point  is  attained  only  in  about  half-a-dozen  of  the  finest  impressions 
before  the  publication.” 


WILLE,  JOHANN  GEORG 

891 — La  Menag^re  Hollandaise 

Le  Jeune  Joueur  dTnstrument  (After  Schalken) 

Two  of  the  most  attractive  of  Wille’s  smaller  plates.  In  good  condition.  In  passe 
partouts.  The  two  as  one  lot. 

ZENDERICH,  C.  L. 

892 — Portrait  of  Henry  Clay 

Lithographed  from  life  in  1844.  Proof  on  India  paper.  Gold  frame. 


133 


NOTE. — The  following  Nos.,  895  to  924,  inclusive,  were  catalogued  from 
memorandums  left  by  the  late  Professor  West. 

AMERICAN  ART  ASSOCIATION. 

THOMAS  GAINSBOROUGH,  R.A. 

895 — Pencil  Sketch 

From  the  collection  of  Sir  Edmond  Temple,  London. 

DAVID  WILKIE,  R.A. 

896 — “ Guess  My  Name  ” 

(Original  drawing  in  crayon  and  red  chalk) 

Signed  at  the  right.  Height,  4 inches;  length,  7 inches. 


SAMUEL  PROUT 

899— 

Old  House  near  Honfleur 

(Water  color) 

Signed  at  the  right. 

Height,  10  inches;  length,  iq}4  inches. 

900 — 

M.  J.  HISPALETO 

A Madrid  Garden 

(Water  color) 

Signed  at  the  right. 

Height,  11  Yz  inches;  width,  8 inches. 

901 — 

H.  JUDSON 

Old  Cottage  in  Wales 

(Water  color) 

Signed  at  the  left. 

Height,  12  inches;  length,  14J4  inches. 

134 


J.  PRICE 


902 — 

The  Coming  Storm 

(Water  color) 

Signed  at  the  right. 

Height,  15  inches;  length,  22  inches. 

MARIANO  FORTUNY 

903— 

Signed  at  the  left. 

Study  of  a Moor 

(Water  color) 

Height,  13  inches;  width,  9 inches. 

' UNKNOWN 

904 — Portrait  of  Captain  Nolan 

(Water  color) 

Captain  Nolan,  of  the  Light  Dragoon  Guards,  English  Army,  was  the  officer  who 
gave  the  orders  for  the  charge  of  the  “ Balaklava  Six  Hundred,”  and  was  among  those 
killed. 

Purchased  by  the  late  owner  from  the  Sir  Edmond  Tempie  Collection,  London. 

Height,  iyy2  inches;  width,  14  inches. 

905 — “ A Great  Fire  in  New  York  ” 

# (Colored  print) 

“ Metz  (Mozel).  Printed  and  published  by  Dembour,  engraver  and  lithographer, 
the  successor  of  Lacour  & Co.,  of  Nancy.” 

LARGE  PHOTOGRAPHS 

906 — 

“ St.  Peter’s,  Rome  ” 

(Triple  plate) 

907— 

“ Ancient  Rome  ” 

(Triple  plate) 

135 


OIL  PAINTINGS 


908 — 


UNKNOWN 

‘The  Dispute 


RUFUS  WRIGHT 

909 — Apples  and  Oranges 

Signed  at  the  right  and  dated  1870.  Height,  11  inches;  length,  15  inches. 


910 — 

Signed  at  the  left. 


P.  LACROIX 

Still-life 

Height,  12  inches ;,length,  16  inches. 


G.  H.  McCORD 

91 1 — A Berkshire  Relic 

Signed  at  the  right  and  dated  1873.  Height,  %l/2  inches;  length,  1354  inches. 


ALBERT  DURER 


912 — Head  of  a Dutch  Woman 

Signed  with  initials  at  lower  centre.  Height,  13  inches;  width,  gx/2  inches. 


GILBERT  STUART 

913 — Portrait  of  a Lady 

Height,  17  inches;  width,  14  inches. 
136 


HANS  HOLBEIN 

Head  of  the  Madonna 


914— 

The  above  painting  was  brought  to  this  country  in  1848  by  a Dr.  Ritter,  a promi- 
nent physician  of  Altenberg,  Germany,  who  received  the  picture  as  a token  of  respect 
and  thankfulness  from  a member  of  a rich  and  noble  family  of  Warsaw,  Gartoryiski- 
Sanguszko,  whom  the  doctor  had  aided  to  escape  from  Russia  via  “ Underground 
Railway,”  to  the  Swiss  frontier.  Through  this  act  Dr.  Ritter  got  into  trouble  with 
his  country  (Germany),  and,  after  being  imprisoned  ten  months,  was  forced  to  come 
to  this  country,  bringing  the  picture  with  him.  He  afterwards  sold  the  painting  to  Mr. 
Emil  Seitz,  who,  in  May,  1865,  sold  it  to  the  late  Prof.  Charles  W.  West,  for  whose 
estate  it  is  now  to  be  sold. 

. Height,  12  inches;  width,  10  inches. 


UNKNOWN 

915 — Cordelia  in  Shakespeare’s  Play  of  “ King  Lear  ” 

Height,  24  inches;  width,  19  inches. 


W.  M.  BROWN 

916 — On  the  Hoosac  River 

Signed  at  the  right.  Height,  26^2  inches;  length,  46  inches. 

W.  M.  BROWN 

917 — Autumn,  Van  Rensselaer  County,  New  York 

Signed  at  the  right.  Height,  22  inches;  length,  34  inches. 

« 

W.  M.  BROWN 

918 — Summer,  Van  Rensselaer  County,  New  York 

Signed  at  the  right.  Height,  33 inches;  length,  48  inches. 


UNKNOWN  OLD  MASTER 

919 — Marriage  of  the  Virgin 

Height,  35^2  inches;  width,  28^4  inches. 


137 


920 — 

DANIEL  HUNTINGTON,  N.A. 

The  Velvet  Cap 

Presented  by  the  artist  to  the  late  owner,  Prof.  C.  W.  West. 

Height,  36  inches;  width,  28^2  inches. 

921 — 

UNKNOWN 

St.  Sebastian 

From  the  collection  of  Dr.  Gorham  D.  Abbot. 

Height,  34  inches;  width,  28^2  inches. 

Note. — The  following  copies  of  celebrated  pictures  were  executed  by  Chevalier 
Chatelain  about  1870,  for  Dr.  Gorham  D.  Abbot,  of  New  York,  who  made  a stipulation 
that  the  copies  were  to  be  submitted  to  the  government  officer  in  charge  of  the  works 
at  Rome,  to  the  Marquis  Campanella,  President  of  the  Society  of  the  Belles  Arts,  and 
to  the  American  Minister  at  Rome,  each  of  whom  were  to  furnish  written  certificates 
of  the  excellence  of  the  copies. 


922 — 

Copy  of  “ The  Madonna  della  Seggiola  ” 

In  the  Pitti  Palace,  Florence. 

Size  of  the  original. 

923— 

Copy  of  “ The  Madonna  Murillo  ” 

In  the  Corsini  Palace. 

Size  of  the  original. 

924— 

Copy  of  “ The  Sibyl  of  Domenichino  ” 

• 

In  the  Borghese  Palace. 

Size  of  the  original. 

133 


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BEGINNING  AT  3 O’CLOCK 


FINE  ART  BOOKS 

CATALOGUED  BY  MR.  J.  O.  WRIGHT 

925  Adams  (W.  H.  D.).  Buried  Cities  of  Campania  ; or,  Pompeii  and 

Herculaneum.  Illustrated.  London,  1870. 

Crown  8vo,  cloth. 

926  Alfston  (Washington).  Lectures  on  Art,  and  Poems.  Edited  by  Rich- 

ard Henry  Dana,  Jr.  New  York,  1850. 

First  edition  in  collected  form. 
i2mo,  cloth. 

927  American  Art  and  American  Art  Collections.  (Sections  49-62.) 

Etchings,  woodcuts,  etc.  Boston,  1889. 

14  Nos.,  4to,  paper. 

928  dAnvers  (N.).  Elementary  History  of  Art.  Illustrated.  New  York, 

1875- 

i2mo,  cloth  (loose  in  covers). 

929  Architecture.  Rudiments  of  Ancient  Architecture.  Containing  an 

historical  account  of  the  Five  Orders,  etc.  11  copper  plates,  and  vig- 
nette in  title.  London,  1821. 

Royal  8vo,  boards,  uncut. 

930  Twenty  Styles  of  Architecture.  By  the  editor  of  “The  Hundred 

Greatest  Men.”  Numerous  plates  of  the  finest  edifices  of  the  world. 
London,  1881. 

Imperial  8vo,  half  morocco. 


T39 


93i 

932 

933 

934 

935 

936 

937 

938 

939 

94i 

942 

943 


Armitage  (E.).  Lectures  on  Painting.  Woodcuts.  New  York,  1883. 
Crown  8vo,  cloth,  gilt  top,  uncut  edges. 

Another  copy.  London,  1883. 

Crown  8vo,  cloth,  uncut. 

Army  Uniform.  Preussische  Armee-Uniformen  unter  der  Regierung 
Friedrich  Wilhelm  II.,  Konigs  von  Preussen.  Over  130  brilliantly 
colored  plates,  of  which  6 are  missing  from  the  original  number. 
Potsdam,  1789-91. 

3 vols.  in  1,  8vo,  boards,  uncut  (worn). 

Artists’  Arcanum  ; or,  the  Essence  of  a Variety  of  Useful  and  Enter- 
taining Arts.  Stamford,  1823. 
i6mo,  calf,  gilt. 

Atkinson  (J.  Beavington).  Art  tour  to  Northern  Capitals  of  Europe. 
London,  1873. 

8vo,  cloth,  uncut. 

Aurelio  and  Visconti.  Indicazione  delle  Sculture,  e della  Galleria 
de’  Quadri  esistenti  Nella  Villa  Mollis  al  Quirinale.  Engraved  portrait 
and  plates.  Roma,  1814. 

4to,  half  calf. 

Baker  (W.  S.).  American  Engravers  and  their  Works.  Philadelphia, 

1875- 

i2mo,  cloth,  uncut. 

William  Sharp,  Engraver,  with  a descriptive  catalogue  of  his 

works.  Portrait.  Philadelphia,  1875. 
i2mo,  cloth,  uncut. 

Bardwell  (W.).  Temples,  Ancient  and  Modern.  Plates  and  woodcuts. 
London,  1837. 

Royal  8vo,  cloth,  uncut  (stained  pages).  Large  paper  copy. 

Another  copy. 

Royal  8vo,  cloth,  uncut  (loosely  bound). 

Barlow  (H.  C.).  Essays  on  Symbolism.  London,  1866. 

Crown  8vo,  cloth. 

Bartolozzi  and  his  Works.  By  Andrew  W.  Tuer.  Plates  (some 
in  colors).  London  [1881]. 

2 vols.,  4to,  boards,  gilt  top,  uncut  edges. 

Bayliss  (Wyke).  Witness  of  Art ; or,  the  Legend  of  Beauty.  London, 
1878. 

8vo,  cloth. 


140 


944  Beck  (R.).  Treatise  on  the  construction,  proper  use,  and  capabilities  of 

Smith,  Beck,  and  Beck’s  Achromatic  Microscopes.  28  plates  (colored 
and  black)  and  woodcuts.  London,  1865. 

Royal  8vo,  cloth,  uncut. 

Another  copy. 

Royal  8vo,  cloth,  uncut  (slightly  damaged  cover). 

945  Beckwith  (Arthur).  Pottery.  New  York,  1872. 

8vo,  cloth. 

946  Majolica  and  Fayence.  Woodcuts.  New  York,  1877. 

i2mo,  cloth. 

Another  copy. 

i2mo,  cloth. 

947  Beham  (Hans  Sebald).  Catalogue  of  the  Prints  and  Etchings  of , 

Painter,  of  Nuremberg,  Citizen  of  Frankfort,  1500-1550.  Woodcut. 
London,  1877. 

No.  44  of  100  copies. 

4to,  boards,  uncut. 

948  Bell  (John).  Observations  on  Italy.  Boston,  1826. 

i2mo,  cloth. 

949  Benard.  Cabinet  de  Paignon  Dijonval.  Paris,  1810. 

4to,  half  calf. 

950  Benjamin  (S.  G.  W.).  Contemporary  Art  in  Europe.  Illustrated.  New 

York,  1877. 

4to,  half  calf. 

951  Beza  (Theod.).  Poemata  Varia : Sylvae,  Epitaphia,  etc.  Wood  en- 

gravings of  emblems.  Scarce.  [Genevae],  1597. 

Complete  copy,  with  the  Abrahamus  Sacrificans , and  the  Appendix, 
which  were  not  printed  until  1598,  and  are  often  lacking.  Rare 
portrait  of  Beza  inserted. 

4to,  half  calf. 

951a  Binns  (R.  W.).  Century  of  Potting  in  the  City  of  Worcester.  (1751  — 
1851.)  Illustrated.  London,  1865. 

8vo,  cloth. 

952  Birch  and  Jenner.  Early  Drawings  and  Illuminations.  Numerous 

plates.  London,  1879. 

8vo,  cloth. 


953  Black  (John  R.).  Young  Japan.  Yokohama  and  Yedo.  London  [Yo- 

kohama], 1880. 

2 vols.,  8vo,  cloth. 

954  Blackie  (J.  S.).  On  Beauty.  Edinburgh,  1858. 

Crown  8vo,  cloth,  uncut. 

955  Blake  (William).  The  Grave : A poem  by  Robert  Blair.  With  12 

etchings  from  original  designs  by  Blake,  and  a fine  portrait  of  the  artist. 

London,  1813. 

4to,  half  morocco. 

956  — — Another  edition,  with  the  illustrations  reduced  in  size.  New 

York,  1847. 

4to,  cloth. 

957  — Life  of,  with  selections  from  his  Poems,  etc.,  by  Alex.  Gilchrist. 

Portrait  and  other  illustrations.  London,  1863. 

2 vols.,  8vo,  cloth,  uncut. 

958  — — Another  copy. 

2 vols.,  cloth,  uncut. 

959  BLAKE  (William).  LIFE  OF.  By  Alexander  Gilchrist.  London, 

1863. 

Unique  copy.  Vol.  I.  has  been  enlarged  to  folio  and  divided 
into  2 vols. ; the  second  volume  retains  its  original  size. 

The  inserted  illustrations,  over  200  in  all,  comprise  an  original 
sketch  by  Blake,  13  colored  plates  from  the  Marriage  of  Heaven 
and  Hell  ; the  superb  engraving  of  Zephyrus  and  Flora  ; and 
a large  number  of  prints  by  Blake  from  the  Novelists’  Library, 
Blair’s  Grave,  and  other  sources.  In  addition,  the  Romney  prints 
of  Sensibility,  Cassandra,  Miranda,  etc.,  engraved  by  Caroline 
Watson  ; portraits,  including  Thomas  Paine,  by  Sharpe  ; Sir 
Thos.  Lawrence,  by  Cousins  ; mezzotint  folio  portrait  of  Wm. 
Godwin  ; and  many  other  fine  plates  have  been  inserted. 

3 vols.,  folio  (2)  and  8vo  (1),  half  brown  levant  morocco,  gilt 
edges,  by  Tout. 

960  Illustrations  of  the  Book  of  Job,  with  Life,  etc.,  of  Blake,  by  C.  E. 

Norton.  21  plates.  Boston,  1875. 

4to,  cloth. 

961  Book  of  Job.  The  21  illustrations. 

4to,  cloth  portfolio. 

962  The  Marriage  of  Heaven  and  Hell  Twenty-seven  pages,  with 

colored  illustrations  in  facsimile  of  the  original  drawings  by  Blake. 

London. 

4to,  half  morocco. 


142 


963  Blake  (William).  His  Life,  Character,  and  Genius.  By  A.  T.  Story. 

Portrait  after  miniature  by  Linnell.  London,  1893. 

Post  8vo,  cloth. 

964  Blake  (W.  W.).  The  Cross,  Ancient  and  Modern.  104  illustrations. 

New  York,  1888. 

4to,  cloth  (cover  slightly  damaged). 

965  Another  copy. 

4to,  cloth. 

966  Blanc  (Ch.).  Art  in  Ornament  and  Dress.  Illustrated.  New  York, 

1877. 

8vo,  cloth. 

967  Grammar  of  Painting  and  Engraving.  Translated  by  Kate 

Newell  Doggett.  Colored  frontispiece  and  illustrations.  Chicago, 
1879. 

4to,  cloth. 

968  Bononi  and  Sharpe.  Alabaster  Sarcophagus  of  Oimenepthah  I.,  King 

of  Egypt,  now  in  Sir  John  Soane’s  Museum,  Lincoln’s  Inn  Fields. 
[Drawings  by  Bononi.]  London,  1864. 

4to,  boards. 

969  Borioni  (Antonius).  Collectanea  Antiquitatum  Romanarum,  quas  cen- 

tum tabulis  aeneis  incisas  et  a Rodulphino  Venuti  academico  Etrusco 
cortonensi  notis  illustratas.  Engraved  title  and  103  plates.  Romae, 
1736. 

Folio,  half  calf. 

970  Bouchard  and  Gravier.  Monumens  Egyptiens.  200  engraved  plates 

and  portrait.  Rome,  1791. 

2 vols.  in  1,  royal  folio,  half  russia. 

971  Brayley  (C.  W.).  Ed.  Graphic  and  Historical  Illustrator.  An  original 

miscellany  of  literary,  antiquarian,  and  topographical  information.  150 
woodcuts.  London,  1834. 

Imperial  8vo,  cloth,  uncut  (title  ink-stained). 

972  British  Galleries  of  Art.  London,  1824. 

Crown  8vo,  boards,  uncut. 

973  Bryant  (W.  M.).  Philosophy  of  Art  : being  the  second  part  of  Hegel’s 

HSsthetik,  etc.  New  York  (1879). 

8vo,  cloth. 

974  Buchanan  (W.).  Memoirs  of  Painting.  London,  1824. 

2 vols.,  8vo,  cloth,  uncut. 


t 


143 


975 

978 

979 

980 

981 

982 

983 


984 

985 


986 


987 


Budge  (E.  A.  Wallis).  Sarcophagus  of  Anchnesraneferab,  Queen  of 
Ahmes  II.,  King  of  Egypt,  about  564-526  b.c.  Illustrated.  London, 
1885. 

4to,  cloth. 

Burckhardt  (Jacob).  Civilization  of  the  Period  of  the  Renaissance  in 
Italy.  Translated  by  S.  G.  C.  Middlemore.  London,  1878. 

2 vols.,  8vo,  cloth,  uncut. 

Burnet  (John).  Practical  Essays  on  Various  Branches  of  the  Fine  Arts. 
Etching  by  Burnet  after  Wilkie.  London,  1848. 

Crown  8vo,  cloth. 

Burty  (Philippe).  Chefs-d’CEuvre  of  the  Industrial  Arts.  Pottery, 
Porcelain,  Glass,  etc.  Edited  by  W.  Chaffers.  200  illustrations.  Lon- 
don [ 1 869 J . 

8vo,  cloth,  uncut. 

Charles  Meryon,  Sailor,  Engraver,  and  Etcher.  Memoir  and  Com- 
plete Descriptive  Catalogue  of  his  Works.  Translated  by  M.  B.  Huish. 
London,  1879. 

No.  36  of  125  copies. 

8vo,  boards,  uncut. 

Camper  (P.).  Works  ...  on  the  Connexion  between  the  Science  of 
Anatomy  and  the  Arts  of  Drawing,  Painting,  Statuary,  etc.  Translated 
from  the  Dutch  by  T.  Cogan.  Portrait,  20  folded  plates.  London, 
1794-99. 

2 vols.  in  1,  4to,  half  morocco. 

Caricatures  Renversement  de  la  Morale  Chretienne  par  les  de- 

sordres  du  Monachisme.  Double  steel  plate  and  50  curious  mezzo- 
tints of  monks.  [Hollande  vers  la  fin  du  i7e  sieele.J 
French  and  Dutch  texts. 

2 vols.  in  1,  4to,  levant  morocco  Janseniste,  inside  border,  gilt  edges. 

Carr  (J.  Comyns).  Essays  on  Art.  London,  1879. 

Crown  8vo,  cloth,  uncut. 

Cartault  (A.).  Sur  l’Authenticite  des  Groupes  en  Terre  Cuite  d’Asie- 
Mineure.  Colored  plates.  Macon,  1887. 

4to,  paper. 

Castellani  (Augusto).  Gems.  Translated  by  Mrs.  John  Brogden. 
London,  1871. 

Crown  8vo,  cloth,  uncut. 

Cellini  (Benvenuto).  Memoirs  of.  Written  by  himself.  Translated  by 
Thomas  Roscoe.  Portrait.  Bookplate.  London,  1822. 

2 vols.,  8vo,  basket  calf,  gilt. 


144 


4 


988  Chaffers  (W. ).  Keramic  Gallery.  Nearly  600  fine  photographs  of  rare 

and  curious  examples.  London,  1872. 

2 vols.,  royal  8vo,  cloth. 

989  Chandler,  Revett,.  and  Pars.  Ionian  Antiquities.  Published  with 

permission  of  the  Society  of  Dilettanti.  33  plates  and  vignettes.  Lon- 
don, 1769. 

Royal  folio,  half  calf  (damaged  covers,  stained  pages). 

991  [Chetsum  (James)].  History  of  the  Art  of  Engraving  in  Mezzotint, 

etc.  Winchester,  1786. 

Post  8vo,  calf. 

992  China  Hunters’  Club.  By  the  youngest  member.  Illustrated.  New 

York,  1878. 

i2mo,  cloth. 

993  Christie  (J.).  Disquisitions  upon  the  Painted  Greek  Vases,  and  their 

probable  connection  with  the  shows  of  the  Eleusinian  and  other  mys- 
teries. 16  plates  and  vignettes.  London,  1825. 

4to,  boards,  uncut. 

994  Clark  (E.  L.).  Daleth  ; or,  The  Homestead  of  the  Nations.  Egypt 

illustrated.  Plates  (some  colored)  and  woodcuts.  Boston,  1864. 

8vo,  cloth,  gilt  top,  uncut  edges. 

995  Clayton  (Ellen  C.).  English  Female  Artists.  London,  1876. 

2 vols.,  8vo,  cloth,  uncut. 

996  Cleghorn  (G.).  Ancient  and  Modern  Art.  Historical  and  critical. 

Edinburgh,  1848. 

J.  Mitford’s  autograph  on  the  flyleaf. 

2 vols.,  post  8vo,  calf. 

997  Another  copy. 

2 vols,,  post  8vo,  cloth,  uncut. 

998  Clement  and  Hutton.  Artists  of  the  Nineteenth  Century  and  their 

Works.  Boston,  1889. 

2 vols.  in  i,  8vo,  half  red  morocco,  gilt  top. 

999  Cole  (Thomas).  Course  of  Empire,  Voyage  of  Life,  and  other  Pic* 

tures  of . With  selections  from  his  letters  and  miscellaneous 

writings  ...  by  Louis  L.  Noble.  New  York,  1853. 
i2mo,  cloth. 

1000  Another  copy  of  the  preceding  book. 

i2mo,  cloth. 

1001  Collignon  (M.).  Mythologie  figuree  de  la  Grece.  Illustrated.  Paris, 

n.  d. 

i2mo,  cloth. 


10 


145 


1002  Collignon  (M.).  Manuel  d’Arch6ologie  Grecque.  Illustrated.  Paris, 

n.  d. 

8vo,  cloth. 

Another  copy. 

8vo,  cloth. 

1003  Columbus  Gallery.  The  “ Discoverer  of  the  New  World,”  as  repre- 

sented in  portraits,  monuments,  statues,  medals,  and  paintings.  His- 
torical description  by  Nestor  Ponce  de  Leon.  Illustrated.  New  York, 
i893- 

Imperial  8vo,  cloth. 

1004  Combe  (Taylor)  and  Hawkins  (E.).  Description  of  the  Collection  of 

Ancient  Terra  Cottas  in  the  British  Museum.  Ancient  Marbles  (6 
parts),  182  plates.  London,  1810-30. 

Parts  5 and  6 of  Ancient  Marbles,  by  E.  Hawkins. 

7 vols.  in  2,  4to,  morocco,  rich  gilt  back  and  sides,  gilt  edges. 

1005  Cooper  (A.  R.).  Cultivation  of  Art  and  its  Relation  to  Religious  Puri- 

tanism and  Money-getting.  New  York,  1874. 
i2mo,  cloth. 

1006  Coquerel,  Jr.  (Ath.).  Fine  Arts  in  Italy,  in  their  Religious  Aspect, 

etc.  Translated  by  Edward  and  Emily  Higginson.  London,  1859. 
Crown  8vo,  cloth,  uncut. 

1007  Cousin  (V.).  Philosophy  of  the  Beautiful.  Translated  by  J.  C. 

Daniel.  Pickering,  London,  1848. 

Post  8vo,  cloth,  uncut. 

1008  Craig  (W.  M.).  Course  of  Lectures  on  Drawing,  Painting,  and  En- 

graving. Colored  plates  in  five  states.  London,  1821. 

8vo,  boards,  uncut. 

1009  Cranstoun  (J.).  Elevations,  sections,  and  details  of  the  Chapel  of 

Saint  Bartholomew,  near  Oxford.  9 plates.  Oxford,  1844. 

Folio,  paper. 

1010  Cripps  (W.  J.).  Old  French  Plate.  With  tables  of  the  Paris  date- 

letters,  and  facsimiles  and  other  marks.  A Handbook  for  the  Col- 
lector. Illustrated.  London,  1880. 

8vo,  cloth,  uncut. 

1011  Crowe  and  Cavalcaselle.  History  of  Painting  in  Italy.  Numerous 

illustrations.  London,  1864-66. 

3 vols.,  8vo,  cloth,  uncut. 


146 


1012 

ioi3 

1014 

1015 

ioi6 

1017 

1018 

1019 

1020 

1021 

1022 


Cumberland  (R.).  Critical  Catalogue  of  Rare  and  Valuable  Prints, 
with  Anecdotes  of  Engravers.  Portrait.  London,  1827. 

4to,  half  vellum,  gilt. 

Curio  (The).  An  illustrated  monthly  magazine,  devoted  to  Genealogy 
and  Biography,  Heraldry  and  Bookplates,  Coins  and  Autographs,  etc. 
Edited  by  E.  de  V.  Vermont.  Illustrated.  Vol.  I.,  September,  1887, 
to  February,  1888.  New  York,  1888. 

4to,  half  morocco. 

Dagley  (Richard).  Gems,  Principally  from  the  Antique.  With  illus- 
trations in  verse,  by  the  Rev.  George  Croly.  Numerous  plates.  Lon- 
don, 18-  2. 

Crown  8vo,  cloth,  uncut  (stained  leaves). 

Daryl  (Philippe).  Picture  Amateur’s  Handbook  and  Dictionary  of 
Painters.  London,  1878. 

Crown  8vo,  cloth. 

Davidson  (T.).  Parthenon  Frieze  and  other  Essays.  Frontispiece. 
London,  1882. 

Crown  8vo,  cloth,  uncut. 

Davis  (J.  P.).  Thoughts  on  Great  Painters.  Photograph  after  Davis. 
London,  1866. 

8vo,  cloth. 

Dean  (Amos).  History  of  European  Art.  Albany,  1876. 

8vo,  cloth. 

j I 

De  la  Beche  and  Reeks.  Catalogue  of  Specimens  in  the  Museum  of 
Practical  Geology,  illustrative  of  the  Composition  and  Manufacture  of 
British  Pottery  and  Porcelain.  Woodcuts . London,  1876. 

8vo,  cloth. 

Dennistoun  (James).  Memoirs  of  Sir  Robert  Strange,  Engraver,  and 
of  his  Brother-in-law,  Andrew  Lumisden.  Portraits  and  engravings 
by  Strange.  London,  1855. 

2 vols.,  crown  8vo,  half  morocco. 

Dibdin  (T.  F.).  Abdes  Althorpianae,  with  the  Supplement.  Superb 
portraits,  etc.  London,  1822. 

2 vols.,  royal  8vo,  russia  (covers  broken  and  plates  stained). 

Dieulafait  (Louis).  Diamonds  and  Precious  Stones.  Translated  by 
Fanchon  Sanford.  126  woodcuts.  New  York  [1873]. 

i2mo,  cloth. 


147 


1023 

1024 

1024a 

1025 

1026 

1027 

1028 

1029 

1030 

1031 

1032 

1033 

1034 


Dobbins  (Frank  S ).  False  Gods  ; or,  the  Idol  Worship  of  the  World. 
Profusely  illustrated.  Philadelphia,  n.  d. 

8vo,  cloth. 

Dore.  Coleridge  (S.  T.).  Der  alte  Matrose,  von  Ferdinand  Freili- 
grath.  Illustrated  by  Dord.  Leipzig,  1877 . 

Imperial  4to,  cloth,  gilt  edges. 

Chateaubriand.  Atala.  Translated  by  J.  S.  Harry.  Illustrated 

by  Dore.  New  York,  j886. 

4to,  cloth. 

Milton’s  Paradise  Lost.  Illustrated  by  Gustave  Dord.  Introduc- 
tion by  Robert  Vaughan.  New  York,  n.  d. 

4to,  cloth. 

Duchesne,  aine.  Essai  sur  les  Nielles,  gravures  des  Orfevres  Floren- 
tins  du  xve  siecle.  Plates.  Paris,  1826. 

8vo,  half  morocco. 

Dunlap  (Wm.).  History  of  the  Rise  and  Progress  of  the  Arts  of  De- 
sign in  the  United  States.  New  York,  1834. 

2 vols.,  8vo,  original  boards. 

Duplessis  (Georges).  Wonders  of  Engraving.  10  plates,  34  wood 
engravings.  London,  1871. 

8vo,  cloth. 

Wonders  of  Engraving.  Illustrated.  New  York,  n.  d. 

i2mo,  cloth. 

Duppa  and  Quatremfcre  de  Quincy.  Lives  and  Works  of  Michael 
Angelo  and  Raphael.  15  engravings.  London,  1856. 

Post  8vo,  half  morocco,  gilt  edges. 

Dlirer  (A.).  Passio  Christi.  The  Little  Passion.  Reproduced  in  fac- 
simile. Edited  by  W.  C.  Prime.  37  plates.  New  York,  1868. 

4to,  morocco  antique,  gilt  edges. 

History  of  Life  of  . By  Mrs.  Charles  Heaton. 

Numerous  reproductions  in  facsimile.  London,  1870. 

Royal  8vo,  cloth,  gilt  edges. 

Duruy  (Victor).  History  of  Rome  and  of  the  Roman  People,  etc. 
Translated  by  Ripley  and  Clarke.  Edited  by  J.  P.  Mahaffy.  Numer- 
ous colored  plates,  maps,  and  illustrations.  Boston,  1884-87. 

Edition  de  luxe. 

8 vols.  in  16.  Royal  8vo,  cloth,  uncut. 

Dutuit.  Souvenir  de  l’Exposition  de . Reproductions  in  fac- 

simile (some  colored).  Pans,  1869. 

4to,  half  cloth,  uncut. 


148 


1035  Dutuit  (Eugene).  Manuel  de  l’Amateur  des  Estampes.  Numerous 

illustrations.  Paris,  1881. 

These  volumes  (4  and  5)  relate  to  the  Flemish  and  Holland 
schools. 

2 vols.,  royal  8vo,  boards,  uncut. 

1036  Eastlake  (C.  L.).  Materials  for  a History  of  Oil  Painting.  Contribu- 

tions to  the  Literature  of  the  Fine  Arts.  London,  1847-48. 

2 vols.,  8vo,  calf. 

1037  Contributions  to  the  Literature  of  the  Fine  Arts.  London, 

1870. 

2 vols.,  8vo,  half  morocco,  gilt  top,  uncut. 

1038  Ecclesiastical  and  Architectural  Topography  of  England: 

Berkshire,  Buckinghamshire,  Bedfordshire,  Huntingdonshire,  Cam- 
bridgeshire, Suffolk  Oxford,  1849- 
6 vols.,  8vo,  paper. 

1039  Egypt*  Antiquities  of  Egypt,  With  a particular  notice  of  those  that 

illustrate  the  Sacred  Scriptures.  Illustrated.  London,  1841. 

8vo,  cloth,  uncut  (loose  in  covers). 

1040  Eidlitz  (L.).  Nature  and  Function  of  Art,  more  especially  of  Archi- 

tecture. London,  1881. 

8vo,  cloth. 

1041  Elgin.  Memorandum  on  the  Subject  of  the  Earl  of  Elgin’s  Pursuits  in 

Greece.  Copper  engravings.  Bookplate.  London,  1811. 

8vo,  old  calf. 

1042  Elgin  Marbles,  Letter  from  Chevalier  Antonio  Canova  ; and  Two 

Memoirs  ...  on  the  Sculptures  in  the  Collection  of  the  Earl  of 
Elgin.  By  Chevalier  E.  Q.  Visconti.  Translated  from  French  and 
Italian.  London,  1816. 

8vo,  calf  (one  cover  loose). 

1043  Another  copy. 

8vo,  cloth  (loose  in  covers),  bookplate. 

1044  Elgin  Marbles  from  the  Parthenon  at  Athens,  etc.,  . . . Re- 

marks by  Richard  Lawrence.  50  etchings.  London,  1818. 

Oblong  4to,  half  morocco. 

1045  Ellet  (Mrs.).  Women  Artists  in  all  Ages  and  Countries.  New  York, 

1859- 

i2mo,  cloth. 


149 


1046  Elmes  (James).  Arts  and  Artists  ; or,  Anecdotes  and  Relics  of  the 

Schools  of  Painting,  Sculpture,  and  Architecture.  Portraits  and 
vignettes.  London,  1825. 

3 vols.,  post  8vo,  half  morocco. 

1047  Ely  (Talfourd).  Manual  of  Archaeology.  1 14  illustrations.  London, 

1890. 

Crown  8vo,  cloth. 

1048  Emanuel  (Harry).  Diamonds  and  Precious  Stones.  Plates  and  wood- 

cuts.  London,  1867. 

Crown  8vo,  cloth,  uncut. 

1049  Another  copy. 

Crown  8vo,  cloth,  uncut. 

1050  Engravings  on  Copper.  Engraved  Title  (1614)  and  66  Plates  to  Les 

Images  ou  Tableau  des  Deux  Philostrates.  125  illustrations  of  Sacred 
and  Profane  History,  by  Briot,  etc.,  and  Portraits  of  Turkish  Emperors, 
Oriental  Costume,  etc. 

Over  300  plates  in  all,  mounted  in  royal  folio,  board  covers. 

(Saec.  XVII.) 

1051  Engraving.  Sculptura  Historico-Technica  ; or,  the  History  and  Art 

of  Engraving.  Chronological  and  Historical  Series  of  the  Painters 
from  the  Eleventh  Century.  Copper  plates  and  facsimiles.  London, 
1770. 

Post  8vo,  old  calf. 

1052  Engraving.  Origin  and  Antiquity  of  Engraving.  By  W.  S.  B.  Phila- 

delphia, 1872. 

8vo,  cloth,  gilt  top,  uncut  edges. 

1052a  Another  copy. 

8vo,  cloth,  uncut. 

1053  Engravings,  Etchings,  and  Mezzotints.  Exhibition  of , held 

under  the  auspices  and  for  the  benefit  of  the  Pennsylvania  Academy 
of  Fine  Arts.  (December,  1874.)  Philadelphia,  1875. 

Presentation  copy  to  Dr.  West  from  James  L.  Claghorn,  purchaser 
of  the  collection. 

4to,  paper. 

1054  Essays  on  American  Art  and  Artists.  By  F.  Hopkinson  Smith, 

Will  Low,  Charles  de  Kay,  and  31  others.  1,100  illustrations  by  Rein- 
hart, Wenzell,  Moran,  etc.  New  York,  1896. 

Oblong  4to,  cloth,  gilt  edges. 

1055  Etty  (W.).  Life  of.  By  A.  Gilchrist.  Portrait.  London,  1855. 

2 vols.,  post  8vo,  cloth,  uncut. 


150 


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1057 

1058 

1059 

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1061 

1062 

1063 

1064 

1065 

1066 

1067 


Fagan  (Louis).  Handbook  to  the  Department  of  Prints  and  Drawings 
in  the  British  Museum.  Frontispiece  after  Raffaello.  London,  1876. 

8vo,  cloth. 

Fairholt  (F.  W.).  Ed.  Dictionary  of  Terms  in  Art  500  wood  engrav- 
ings. London,  n.  d. 

Crown  8vo,  cloth. 

Falkener  (E.).  Description  of  Some  Important  Theatres  and  other 
Remains  in  Crete,  from  a MS.  History  of  Candia.  By  Cnorio  Belli  in 
1586.  Plates  and  woodcuts.  London,  1854. 

Royal  8vo,  cloth. 

Farrar  (C.  S. ).  History  of  Sculpture,  Painting,  and  Architecture. 
Topical  lessons,  with  specific  references  to  valuable  books.  Chicago, 
1881. 

8vo,  cloth. 

Fellows  (Charles).  Xanthian  Marbles  : Their  Acquisition  and  Trans- 
mission to  England.  2 plates.  London,  1843. 

8vo,  paper,  uncut. 

Account  of  the  Ionic  Trophy  Monument  excavated  at  Xanthus. 

4 plates.  London,  1848. 

8vo,  boards. 

Fergusson  (James).  Palaces  of  Nineveh  and  Persepolis  Restored.  An 
Essay  on  Ancient  Assyrian  and  Persian  Architecture.  Illustrated. 
London,  1851. 

8vo,  cloth,  uncut. 

Tree  and  Serpent  Worship  ; or,  Illustrations  of  Mythology  and 

Art  in  India.  From  the  Sculptures  of  the  Buddhist  Topes  at  Sanchi 
and  Amravati.  ico  plates.  Very  scarce.  London,  1868. 

Royal  4to,  half  red  morocco. 

Rude  Stone  Monuments  in  all  Countries.  234  illustrations. 

London,  1872. 

8vo,  cloth,  uncut. 

History  of  Indian  and  Eastern  Architecture.  Illustrated.  Lon- 
don, 1876. 

8vo,  half  morocco,  gilt  top,  uncut  edges. 

Temples  of  the  Jews,  and  the  other  Buildings  in  the  Haram  Area 

at  Jerusalem.  Illustrated.  London,  1878. 

4to,  cloth. 

The  Parthenon  ; an  Essay  on  the  Mode  by  which  Light  was  intro- 
duced into  Greek  and  Roman  Temples.  Illustrated.  London,  1883. 

4to,  cloth. 


io68 

1069 

1070 

1071 

1072 

1073 

1074 

1075 

1076 

1077 

1078 

1079 


Ferrey  (B.).  Recollections  of  A.  N.  Welby  Pugin,  and  his  Father, 
Augustus  Pugin  ; with  Notices  of  their  Works.  Appendix  by  E.  Sheri- 
dan Purcell.  Portrait  and  illustrations.  London,  1861. 

8vo,  cloth,  uncut. 

Feuchtwanger  (L.).  Treatise  on  Gems,  in  reference  to  their  practical 
and  scientific  value.  New  York,  1838. 

8vo,  cloth. 

Popular  Treatise  on  Gems,  in  reference  to  their  scientific  value. 

Portrait,  woodcuts,  and  colored  plates.  New  York,  1867. 
i2mo,  cloth. 

Fillans  (James),  Sculptor.  Memoir  of , by  James  Paterson. 

Portraits  and  plates.  Paisley,  1854. 

4to,  cloth  (damaged  covers). 

Fine  Arts  Quarterly  Review  (The).  (May,  1863-January,  1865). 
Illustrated.  London  [1863-65]. 

5 vols.,  royal  8vo,  half  morocco,  gilt  top,  uncut. 

First  Proofs  of  the  Universal  Catalogue  of  Books  on  Art, 

etc.  London,  1870. 

2 vols.,  4to,  half  morocco  (rubbed). 

Fisher  (Richard).  Catalogue  of  a collection  of  engravings,  etchings, 
and  woodcuts.  Title  in  woodcut  border  ; numerous  woodcuts  and 
etchings  in  facsimile.  (London),  1879. 

Imperial  8vo,  half  morocco,  gilt  top,  uncut  edges. 

Flaxman  (John).  Lectures  on  Sculpture.  With  a brief  memoir  of 
the  author.  Portrait  after  medallion  by  Flaxman,  and  52  plates. 
London,  1829. 

Royal  8vo,  calf. 

Fontana  (Dom  ).  Della  trasportatione  dell’  Obelisco  Vaticano  et  delle 
fabriche  di  nostro  signore  Papa  Sisto  V.  Folded  frontispiece  and’ 
numerous  plates.  Roma,  1590. 

2 vols.  in  1,  folio,  calf.  (Frontispiece  and  title  mended.  Stained 
leaves.) 

Forster  (H.  R.).  Stowe  Catalogue,  priced  and  annotated.  Mezzotint 
frontispiece  and  plates.  London,  1848. 

4to,  half  morocco. 

Fortuny.  Life  of .,  With  his  works  and  correspondence,  from 

the  French  of  Baron  Davillier,  with  notes  and  reminiscences  by  a 
friend.  Philadelphia,  1885. 

i2mo,  cloth,  gilt  top,  uncut  edges. 

Fuseli  (Henry).  Life  and  Writings,  written  and  edited  by  John 
Knowles.  Portrait.  London,  1831. 

3 vols.,  8vo,  boards,  uncut. 


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1093 


Gale  (Ethel  C.).  Hints  on  Dress.  New  York,  1872. 
i2mo,  cloth. 

Gambarini  (C  ).  Description  of  the  Earl  of  Pembroke’s  Pictures. 
Westminster,  1731. 

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Gargiulo  (Raphael).  Collection  of  the  most  remarkable  monuments 
of  the  National  Museum  [Naples].  2,400  plates.  Naples,  1869. 

4 vols.  in  2,  4to,  half  russia. 

Collection  of  the  most  remarkable  monuments  of  the  National 

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4 vols.,  4to,  paper  (3  vols.  loose  in  covers). 

Garofalo  (Benvenuto  Tisi  da).  Collezione  di  sette  dipinti.  7 plates. 
Ferrara,  1840. 

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Gebhart  (Emil).  Roman  Cameos  and  Florentine  Mosaics.  Translated 
and  edited  by  M.  Jeaffreson.  London,  1882. 

Crown  8vo,  cloth. 

Gerspach.  La  Mosai'que.  Illustrated.  Paris,  n.  d. 
i2mo,  cloth. 

Gibson  (John).  Life  of . Edited  by  Lady  Eastlake.  Portrait. 

Londob,  1870. 

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Gilpin  (W.).  Essay  on  Prints.  London,  1802. 

8vo,  calf. 

Gioberti  (Vincenzo).  Essay  on  the  Beautiful.  Elements  of  .Esthetic 
Philosophy.  Translated  by  E.  Thomas.  London,  i860. 

8vo,  half  calf. 

Giotto.  By  Harry  Quilter.  Colored  frontispiece,  photographs,  and 
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Gonse  (Louis).  Eugene  Fromentin.  Translated  by  M.  C.  Robbins. 
Portrait  and  illustrations.  Boston,  1883. 

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Gould  (Charles).  Mythical  Monsters.  Colored  frontispiece  and  nu- 
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153 


1094  Gould  (John).  Biographical  Dictionary  of  Painters,  Sculptors,  Engrav- 

ers, and  Architects,  etc.  London,  1839. 

Crown  8vo,  russia. 

1095  Grimm  (Herman).  Life  of  Michael  Angelo.  Translated  by  Fanny  E. 

Bunnett.  Portrait.  Boston,  1865. 

2 vols.,  i2mo,  cloth,  uncut. 

1096  Grose  (F.).  Rules  for  Drawing  Caricatures  ; with  an  Essay  on  Comic 

Painting.  19  copper  plates  (only),  some  etched  by  the  author.  Lon- 
don, 1791. 

8vo,  boards. 

1097  Haden  (Seymour).  About  Etching  : I.  Notes  on  Collection  of  Etchings 

and  Engravings  by  the  Great  Masters.  II.  Annotated  catalogue. 
Original  etching  by  Haden  and  15  facsimiles.  London,  1879. 

4to,  half  morocco,  gilt  top,  uncut  edges. 

1098  Descriptive  Catalogue  of  Etched  Work  of , by  Sir  W.  R. 

Drake.  Manuscript  notes  in  pencil.  London,  1880. 

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1099  Hager  (Joseph).  Dissertation  on  the  newly  discovered  Babylonian  In- 

scriptions. Plates  (some  colored).  London,  1801. 

4to,  boards,  uncut. 

1 100  Hamelow  (H.).  Imperatores  Romani  a Julio  Caesare,  usque  ad  sacra- 

tissimum  imperatorem.  162  copper-plate  portraits.  Trajecti  ad 
Rhenum,  1696. 

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1101  Hamerton  (P.  G.).  Etching  and  Etchers.  Numerous  plates.  Lon- 

don, 1868. 

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1102  Unknown  River.  An  Etcher’s  Voyage  of  Discovery.  8 etchings. 

London,  1874. 

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U03  The  Graphic  Arts.  A treatise  on  the  varieties  of  drawing. 

painting,  and  engraving,  with  32  tinted  and  other  plates.  New  York 
[London],  1882. 

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1104  Hamilton  (G.).  English  School.  A series  of  the  most  approved  pro- 
ductions in  Painting  and  Sculpture,  executed  by  British  artists  from 
the  days  of  Hogarth  to  the  present  time.  Numerous  outline  engrav- 
ings on  steel.  London,  1833-2. 

4 vols.,  post  8vo,  cloth,  uncut. 


154 


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1117 


Hamilton  Palace  Collection  Catalogue.  Numerous  facsimile  re- 
productions. London,  1882. 

8vo,  cloth,  uncut. 

Harrison  (Jane  E.).  Introductory  Studies  in  Greek  Art.  Map  and 
illustrations.  London,  1885. 

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Haslam  (Rev.  W.).  The  Cross  and  the  Serpent.  Woodcuts.  Oxford, 
1849. 

Crown  8vo,  cloth,  uncut. 

Hawkins  (J.  S.).  History  of  the  Origin  and  Establishment  of  Gothic 
Architecture,  etc.  . . . Painting  upon  and  Staining  Glass.  n 

engraved  plates.  London,  1813. 

8vo,  cloth,  uncut. 

Hay  (D.  R.).  Orthographic  Beauty  of  the  Parthenon  referred  to  a Law 
of  Nature,  etc.  12  plates.  Edinburgh,  1853. 

8vo,  boards. 

Haydon  and  Hazlitt.  Painting  and  the  Fine  Arts.  (Encycl.  Brit, 
articles.  7th  edition.)  Edinburgh,  1838. 

Crown  8vo,  cloth,  uncut. 

Haydon  (B.  R.).  Lectures  on  Painting  and  Design.  Plates  and  wood- 
cuts.  London,  1844-46. 

2 vols.,  8vo,  cloth,  uncut. 

Life  of,  from  his  Autobiography  and  Journals.  Edited  and 

compiled  by  Tom  Taylor.  London,  1853. 

3 vols.,  post  8vo,  cloth. 

Heaphy  (Thomas).  Likeness  of  Christ  : being  an  Inquiry  into  the 
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Royal  folio,  cloth,  gilt  edges  (loose  in  covers). 

Hemans  (C.  I.).  History  of  Ancient  Christianity  and  Sacred  Art  in 
Italy.  London,  1866. 

Crown  8vo,  cloth,  uncut. 

Herculaneum.  The  Antiquities  of.  Translated  from  Italian  by  Martyn 
and  Lettice.  Map  and  50  plates.  London,  1773. 

4to,  half  morocco. 

Herdman  (W.  G.).  Thoughts  on  Speculative  Cosmology  and  the 
Principles  of  Art.  London,  1870. 

8vo,  cloth. 

Hitchcock  (J.  R.  W.).  Etching  in  America.  Frontispiece.  New  York, 
1886. 

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1130 


Hodgson  and  Graves.  Catalogue  of  Engravings  after  the  Finest 
Pictures  of  the  Schools  of  Europe.  London,  1830. 

8vo,  cloth. 

Holbein  Society’s  Facsimile  Reprints.  Fall  of  Man.  By  Albrecht 
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4to,  cloth,  uncut. 

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Rylands  Introduction  by  G.  Bullen.  Facsimiles.  Printed  for  the 
Holbein  Society.  London,  1881. 

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Holt  (Ardern).  Fancy  Dresses  Described  ; or,  What  to  Wear  at  Fancy 
Balls.  Illustrations  (some  colored).  London  [1882]. 

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Hope  and  Fergusson.  Architecture  at  Ahmedabad.  Photographs 
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Howard  (Frank).  Color  as  a Means  of  Art.  Numerous  colored 
plates.  London,  1838. 

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Howard  (H.).  Course  of  Lectures  on  Painting,  delivered  at  the  Royal 
Academy  of  Fine  Arts.  Edited  by  Frank  Howard.  London,  1848 

Crown  8vo,  half  calf. 

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Howitt  (Anna  M.).  Art-student  in  Munich.  Boston,  1854. 

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Howson  (J.  S.).  Ed.  Essays  on  Cathedrals.  By  various  writers. 
London,  1872. 

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Hueffer  (Francis).  Italian  and  other  Studies.  London,  1883. 

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Hulme  (F.  Edward).  Myth-land.  Woodcuts.  London,  1886. 

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Hunt  (W.  M.).  Talks  about  Art.  With  a letter  from  J.  E.  Millais, 
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Illustrated  Biographies  of  the  Great  Artists.  Raphael.  Van 
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156 


1131  Italian  Pictures,  drawn  with  Pen  and  Pencil.  By  the  author  of 

“ Spanish  Pictures,”  etc.  Plates  and  woodcuts.  London,  n.  d. 

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1132  Jameson  (Mrs.).  Visits  and  Sketches  at  Home  and  Abroad,  and  Diary 

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4 vols.,  post  8vo,  half  calf,  gilt. 

1133  Handbook  to  the  Public  Galleries  of  Art  in  and  near  London. 

London,  1842. 

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1134  Companion  to  the  most  Celebrated  Private  Galleries  of  Art  in 

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First  editions. 

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1137  Commonplace  Book  of  Thoughts,  Memories  and  Fancies,  Original 

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1138  Memoirs  of  Early  Italian  Painters.  Illustrated.  London,  1868. 

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1139  Memoirs  of  life  of . By  her  niece,  Geraldine  Macpherson. 

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1140  Jarves  (J.  J.).  Art  Studies:  The  “Old  Masters”  of  Italy;  Painting. 

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1143  Jay  (John  C.).  Catalogue  of  Recent  Shells  ...  in  the  Collection 

of . 4 plates.  New  York,  1836. 

8vo,  cloth. 


i57 


1144  Jennings  (Hargrave).  Rosicrucians : Their  Rites  and  Mysteries. 

Numerous  woodcuts.  London,  1870. 

Crown  8vo,  cloth,  uncut. 

1145  Jewitt  (L.).  Wedgwoods  (The).  Being  a Life  of  Josiah  Wedgwood, 

etc.,  and  a History  of  Early  Potteries  of  Staffordshire.  Illustrated. 
Portrait  by  Wedgwood,  after  Reynolds.  London,  1865. 

8vo,  cloth. 

1146  Half-hours  among  Some  English  Antiquities.  300  woodcuts. 

London,  1877. 

Crown  8vo,  cloth. 

1147  Jones  (W.).  History  and  Mystery  of  Precious  Stones.  London,  1880 

Crown  8vo,  cloth. 

1148  Joufifroy  and  Breton.  Introduction  k l’Histoire  de  France.  2 maps, 

2 frontispieces,  and  44  plates.  Paris,  1838. 

Imperial  folio,  boards,  uncut. 

1149  Keane  (A.  H.).  TV.  and  ed.  Early  Teutonic,  Italian,  and  French  Mas- 

ters. Translated  from  the  Dohme  series.  Numerous  illustrations. 
London,  1880. 

Royal  8vo,'  half  morocco. 


158 


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1150  King  (C.  W.).  Antique  Gems:  Their  Origin,  Uses,  and  Value.  Illus- 

trated. London,  i860. 

8vo,  cloth,  uncut  edges. 

1151  Natural  History  of  Precious  Stones  and  Gems,  etc.  Illustrated. 

London,  1865. 

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1152  Handbook  of  Engraved  Gems.  Illustrated.  London,  1866. 

Crown  8vo,  cloth,  gilt  top,  uncut  edges. 

1153  Another  copy. 

Crown  8vo,  half  calf. 

1154  * Natural  History  of  Gems  or  Decorative  Stones.  Illustrated. 

London,  1867. 

Crown  8vo,  half  calf. 

1155  Natural  History  of  Precious  Stones  and  of  the  Precious  Metals. 

Illustrated.  London,  1870. 

Crown  8vo,  half  calf. 

1156  Knight  (R.  P.).  The  Landscape.  A Didactic  Poem.  In  Three  Books. 

Addressed  to  Uvedale  Price,  Esq.  3 plates.  London,  1794. 

4to,  half  morocco. 

1157  Analytical  Inquiry  into  the  Principles  of  Taste.  London,  1808 

8vo,  calf. 


159 


1158  Knight  (R.  P.).  Symbolical  Language  of  Ancient  Art  and  Myth- 

ology. Introduction,  etc.,  by  A.  Wilder.  New  York,  1876. 

8vo,  cloth,  uncut. 

1159  Koehler  (S.  R.).  Etching  . : An  outline  of  its  technical  processes  and  its 

history,  with  some  remarks  on  collections  and  collecting.  Illustrated 
by  30  plates  and  numerous  text  illustrations.  New  York,  1885. 
Imperial  4to,  cloth,  uncut. 

1160  Kugler.  Schools  of  Painting  in  Italy.  Translated  by  a Lady.  Edited, 

with  notes,  by  Sir  Charles  L.  Eastlake.  London,  1851. 

2 vols.,  crown  8vo,  half  calf. 

1161  Lafever  (Minard).  Architectural  Instructor.  112  plates.  New  York, 

1856. 

4to,  half  morocco. 

1162  Laffan  (W.  M.).  Engravings  on  Wood,  by  members  of  the  Society  of 

American  Wood  Engravers.  New  York,  1887. 

Imperial  4to,  cloth. 

1163  Lalanne  (Maxime).  Traits  de  la  Gravure  a l’Eau-forte.  Ed.  et  tr. 

par  Delaborde.  8 etchings.  Paris,  n.  d. 

French  and  English  text. 

8vo,  paper,  uncut,  in  ornamental  pigskin  wrapper. 

1164  Landseer  (John).  Lectures  on  the  Art  of  Engraving.  London,  1807. 

Crown  8vo,  half  morocco. 

1165  — Another  copy. 

8vo,  half  morocco. 

1166  Sabaean  Researches.  Engraved  title,  frontispiece,  and  vignettes. 

London,  1823. 

4to,  boards,  uncut. 

1167  Descriptive,  explanatory,  and  critical  catalogue  of  fifty  of  the 

earliest  pictures  contained  in  the  National  Gallery  of  Great  Britain. 
London,  1834. 

8vo,  boards,  uncut  (loose  in  covers). 

1168  Lanzi  (A.  L.).  History  of  Painting  in  Italy.  Portraits.  London, 

1852-54. 

3 vols.,  post  8vo,  cloth,  uncut. 

- Another  copy. 

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160 


1169 


1170  Lau  (T.).  Ed.  Greek  Vases  : Their  system  of  form  and  decoration. 

Translated  by  Greenleaf.  12  colored  plates  . . . from  illustra- 

tions in  Royal  Collection  of  Vases  at  Munich.  Boston,  1879. 

Royal  8vo,  half  morocco. 

1171  Lavater  (G.).  L’Art  de  Connaitre  les  Hommes  par  la  Physionomie. 

Engraved  portrait  and  500  copper  engravings.  Paris,  1806-09. 

10  vols.,  8vo,  half  vellum,  gilt  top,  uncut  edges. 

1172  Lawrence  (Sir  Thomas).  Life  and  Correspondence.  By  D.  E.  Wil- 

liams. Portraits.  London,  1831. 

2 vols.,  8vo,  cloth,  uncut. 

1173  Lawrence-Cesnola  Collection.  Cyprus  Antiquities  excavated  by 

Major  Alexander  Palma  di  Cesnola.  Photographs.  London,  1881. 
Oblong  4to,  red  morocco,  gilt,  with  clasps. 

1174  Lee  (John).  Catalogue  of  the  Egyptian  Antiquities  in  the  Museum  of 

Hartwell  House.  Facsimiles  and  woodcuts.  London,  1858. 
Presentation  copy  from  the  compiler. 

4to,  boards. 

1175  Lee  (Vernon).  Studies  of  the  Eighteenth  Century  in  Italy.  London, 

1880. 

8vo,  cloth,  uncut. 

1176  Lefebvre  (E.).  Broderie  et  Dentelles.  148  illustrations.  Paris,  1887, 

8vo,  cloth. 

1177  Legh  (Peter).  The  Music  of  the  Eye  ; or,  Essays  on  the  principles  of 

the  beauty  and  perfection  of  Architecture,  etc.  Numerous  plates. 
London,  1831. 

8vo,  half  vellum. 

1178  Leonardo  da  Vinci.  Treatise  on  Painting.  Translated  from  Italian, 

with  Life  of  the  author.  Numerous  plates  (portrait  missing).  Lon- 
don, 1796. 

8vo,  boards,  uncut. 

1179  Life  of  , with  a critical  account  of  his  works,  by  J.  W. 

Brown.  Portrait  and  exquisite  miniature  of  the  Last  Supper.  Picker- 
ing, London,  1828. 

Crown  8vo,  half  morocco,  gilt  top,  uncut  edges. 

1180  Leonardo  da  Vinci’s  Facsimiles  of  Drawings  and  Sketches 

engraved  on  copper.  18  plates.  N.  d. 

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1181  Lester  (C.  E.).  The  Artists  of  America.  Portraits.  New  York,  1846 

8vo,  cloth. 


161 


1 1 82  Lloyd  (W.  W.).  Christianity,  in  the  Cartoons  referred  to  Artistic  Treat- 

ment and  Historic  Fact.  16  photographs.  London,  1865. 

8vo,  cloth,  uncut. 

1183  Long  (Samuel  P.).  Art;  its  Laws,  and  the  Reasons  for  them,  col- 

lected, considered,  and  arranged  for  general  and  educational  purposes. 
Engravings  after  Raphael,  Titian,  Rembrandt,  etc.,  and  woodcuts. 
Boston,  1871. 
i2mo,  cloth. 

1184  Longhi  (G.).  La  Calcografia.  Engraved  title.  Rare.  Milano,  1830. 

8vo,  boards,  uncut. 

1185  Lostalot  (Alfred  de).  Les  Procedes  de  la  Gravure.  Illustrated.  Paris, 

n.  d. 

8vo,  cloth. 

1186  Liibke  (W.).  History  of  Art.  Translated  by  F.  E.  Bunnett.  Profusely 

illustrated.  London,  1868. 

2 vols.,  royal  8vo,  cloth. 

1187  — — and  others.  Monuments  of  Art.  156  plates.  New  York,  n.  d. 

2 vols.,  oblong  4to,  half  morocco  (damaged  covers). 

1188  Liibke  and  von  Liitrow.  Monuments  of  Art,  showing  its  Develop- 

ment and  Progress.  New  York,  n.  d. 

8vo,  half  morocco. 

1189  [Luckombe  (Philip)].  Concise  History  of  the  Origin  and  Progress  of 

Printing  . . . compiled  from  those  who  have  wrote  on  this  Curious 
Art.  Numerous  plates  and  frontispiece.  London,  1770. 

8vo,  calf  (rebacked). 

1190  Maberly  (J.).  Print  Collector.  Edited,  etc.,  by  R.  Hoe,  Jr.  Illus- 

trated. New  York,  1880. 

4to,  cloth,  uncut. 

1191  Macklin.  Poetic  Description  of  Choice  and  Valuable  Prints,  published 

by  Mr.  Macklin,  at  the  Poets’  Gallery,  Fleet  Street.  Frontisoiece. 
London,  1794. 

8vo,  half  morocco  (damaged). 

1192  Madden  (F.).  History  of  Jewish  Coinage  and  Money  in  the  Old  and 

New  Testaments.  With  254  woodcuts  by  Fairholt.  London,  1864. 
Royal  8vo,  half  morocco. 

1193  Madden  (R.  R.).  Shrines  and  Sepulchres  of  the  Old  and  New  World. 

Lithographic  title  and  plates.  London,  1851. 

2 vols.,  8vo,  cloth,  uncut. 

1194  Madrazo  (Pedro  de).  Catalogo  de  los  cuadros  del  real  Museo  de 

Pintura  y Escultura  de  S.  M.  Madrid,  1858. 
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162 


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1196 

1197 

1198 

H99 

1200 

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1202 

1203 

1204 

1205 

1206 
1207 


Mahaffy  (J.  P.).  Greek  Pictures,  drawn  with  Pen  and  Pencil.  Illus- 
trated. London,  1890. 

Royal  8vo,  cloth. 

Marcenay  de  Ghuy  (de).  Ecuy£r,  Peintre,  et  Graveur.  GEuvre, 
d’apres  le  Poussin,  Vandick,  Rembrandt,  le  Brun,  etc.  54  beautiful 
engravings.  Paris,  n.  d. 

- Folio,  half  morocco. 

Margaret  of  Navarre.  [Heptameron  Francis]  Nouvelles.  Engraved 
titles,  vignettes,  and  72  plates.  Rare.  Berne,  1780-81. 

3 vols.,  8vo,  calf,  gilt,  gilt  edges. 

Marthe  (Jules).  Manuel  d’Archeologie  etrusque  et  romaine.  Illustrated. 
Paris,  n.  d. 

i2mo,  cloth. 

Martial  (A.  P.).  Nouveau  traite  de  la  gravure  a l’eau-forte  pour  les 
peintres  et  les  dessinateurs.  Etchings.  Paris,  1873. 

8vo,  paper,  uncut. 

Mason  (G.  C.).  Life  and  Works  of  Gilbert  Stuart.  Frontispiece  of 
Washington  (Gibbs),  engraving  (Gibbs)  of  Washington  by  Burt,  and 
Athenaeum  portrait,  besides  11  other  portraits  by  Stuart.  New  York, 
1879. 

4to,  cloth,  uncut. 

Maspero  (G.).  Egyptian  Archaeology.  Translated  by  Amelia  B. 
Edwards.  299  illustrations.  New  York,  1888. 

8vo,  clojth,  uncut. 

Mather  (J.  Marshall).  Life  and  Teaching  of  John  Ruskin.  Manchester 
[1883]. 

i2mo,  cloth. 

Mayer  (Joseph).  Art  of  Pottery.  Illustrated.  Liverpool,  1873. 

8vo,  boards. 

Meadows  (R.  M.).  On  Engraving.  London,  1811. 

8vo,  boards,  uncut  (top  of  title  cut). 

Memes  (J.  S.).  History  of  Sculpture,  Painting,  and  Architecture. 
Edinburgh,  1829. 

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History  of  Sculpture,  Painting,  and  Architecture.  Boston,  1831. 

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163 


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1218 


Menard  (Rene).  Entretiens  sur  la  Peinture.  50  etchings  on  Japanese 
paper.  (Translated  under  the  superintendence  of  Philip  Gilbert 
Hamerton  ) Paris,  1875. 

French  and  English  text.  Proof  copy  No.  31. 

Royal  folio,  paper,  uncut  (torn  covers). 

Mengs  (Anthony  Raphael).  Works.  Translated  from  Italian  by  Chev. 
Don  Joseph  Nicholas  d’Azara.  Engraved  titles.  London,  1796. 

2 vols.,  8vo,  half  calf,  uncut  (slightly  damaged). 

Meyer  (Julius).  Antonio  Allegri  da  Correggio.  Translated  and  edited, 
with  introduction,  by  Mrs.  Charles  Heaton.  Numerous  facsimile  re- 
productions. London,  1876. 

Royal  8vo,  cloth. 

Michel  Angelo.  Robinson  (J.  C.).  Critical  Account  of  the  Drawings 
by  Michel  Angelo  and  Raffaello  in  the  University  Galleries,  Oxford. 
Oxford,  1870. 

Crown  8vo,  cloth. 

Facsimiles  of  original  studies  . . . in  the  University  Galleries, 

Oxford.  54  etchings  after  Michael  Angelo,  by  J.  Fisher.  London, 
1872. 

8vo,  cloth,  gilt  edges  (loose  in  covers). 

Milner  (Rev.  J.).  Treatise  on  Ecclesiastical  Architecture  of  England 
during  the  Middle  Ages.  9 plates.  Plate  10  missing.  London,  1811. 

An  excellent  and  admirable  little  work. 

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Treatise  on  the  Ecclesiastical  Architecture  of  England  during 

the  Middle  Ages,  io'  plates.  London,  1835. 

8vo,  boards,  uncut  (stained  pages). 

Mitchell  (Lucy  M.).  History  of  Ancient  Sculpture.  6 plates  and 
numerous  woodcuts.  New  York,  1883. 

Royal  8vo,  cloth,  gilt  top,  uncut  edges. 

Moller’s  Memorials  of  German-Gothic  Architecture.  With  additional 
notes  and  illustrations  from  Stieglitz,  etc.,  by  W.  H.  Leeds.  'Fables  of 
Continental  Linear  Measures,  by  W.  S.  B.  Woolhouse.  London,  1836. 

8vo,  cloth,  uncut. 

Montagnana  (P.  P.).  Illustrazione  storico-pittorica  con  incisioni  a 
contorni  dei  dipinti  della  gran  sala  detta  di  Constantino  presso  le  stanze 
di  Raffaello  Sanzio  da  Urbino.  Frontispieces  and  53  plates.  Roma, 
1834. 

2 vols.  in  1,  4to,  half  vellum. 

Moody  (F.  W.).  Lectures  and  Lessons  on  Art.  25  plates.  London, 

1873- 

8vo,  cloth,  uncut. 


164 


1219  Morghen  (Raphael).  Engraved  Works,  etc.  Biographical  and  other 

notes,  with  a Life  of  the  engraver.  By  F.  R.  Halsey.  Portrait.  New 
York,  1885. 

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1220  Morris  (W.).  Hopes  and  Fears  for  Art.  Five  lectures  delivered  in 

Birmingham,  London,  and  Nottingham  (1878-81).  London,  1882. 
First  edition. 

Crown  8vo,  cloth,  uncut. 

1221  Moses  (H.).  Antique  Vases,  Altars,  Paterae,  Tripods,  Candelabra,  Sar- 

cophagi, etc.,  with  descriptions  [by  H.  H.  Baber].  170  engravings, 
some  in  colors.  London  [1814]. 

4to,  cloth. 

1222  Motte  (de  la).  Fables  Nouvelles,  dediees  au  Roy.  Avec  un  discours 

sur  la  Fable.  Frontispiece  and  vignettes.  Paris,  1719. 

4to,  levant  morocco,  extra,  crest  on  sides,  dentelle  border  inside, 
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T223  Munkacsy  (M.  de).  Christ  before  Pilate.  2 etchings,  after  Munkacsy, 
and  woodcuts.  Paris,  1886. 

4to,  boards. 

1224  Muntz  (Eugene).  Raphael.  Translated  from  the  French,  and  edited 

by  W.  Armstrong.  Frontispiece.  43  plates,  154  woodcuts.  London, 
1882. 

Royal  8vo,  half  morocco,  uncut. 

1225  Naville  (E.).  Temple  of  Deir  el  Bahari.  Part  I.  Northwestern  end  of 

the  upper  platform.  24  plates.  London  [1895]. 

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1226  Newton  (C.  T.).  Essays  on  Art  and  Archaeology.  London,  1880. 

8vo,  cloth,  uncut. 

1227  Nichols  (G.  W.),  Art  Education  applied  to  Industry.  Steel  engraved 

frontispiece  of  the  Bryant  Vase,  and  illustrations.  New  York,  1877. 
4to,  cloth,  gilt  edges. 

1228  Pottery  : How  it  is  Made,  etc.  Bibliography,  and  42  illustrations 

(some  colored).  New  York,  1878. 
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1229  Noir  (Alexandre  le).  Nouvelle  Collection  d’Arabesques,  propres  a la 

decoration  des  appartemens.  40  plates.  Bookplate.  Paris,  n.  d. 

4to,  cloth. 

1230  Nolli  (Giambattista).  Nuova  Pianta  di  Roma.  21  plates.  Rome,  1748. 

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165 


1231 


Norden  (F.  L.).  Voyage  d’Egypte  et  de  Nubie.  Maps  and  engraved 
plates,  by  the  author.  Copenhague,  1755. 

2 vols.,  royal  folio,  calf,  panelled. 

1232  Norton  (C.  B.).  Ed.  Treasures  of  Art,  Industry,  and  Manufacture 

represented  at  the  International  Exhibition,  1876.  (Parts  VI. -XXV.) 
Numerous  colored  plates.  Buffalo,  187.7-78. 

20  parts,  royal  folio,  paper. 

1233  O’Neil  (H.).  Lectures  on  Painting.  London,  1866. 

Crown  8vo,  cloth,  uncut. 

1235  Osburn  (W.).  Monumental  History  of  Egypt  as  recorded  on  the  Ruins 

of  her  Temples,  Palaces,  and  Tombs.  Numerous  illustrations  (some 
colored).  Scarce.  London,  1854. 

2 vols.,  8vo,  half  morocco. 

1236  Another  copy. 

2 vols.,  8vo,  half  morocco. 

1237  Ottley  (W.  Y.).  Inquiry  into  the  Origin  and  Early  History  of  En- 

graving upon  Copper  and  Wood,  with  an  Account  of  Engravers  and 
their  Works,  from  the  Invention  of  Chalcography  by  Finneguerra  to 
the  time  of  Raimondi,  ivith  numerous  facsimiles  of  old  engravings , etc. 
London,  1816. 

2 vols.,  4to,  half  russia. 

1238  — — Facsimiles  of  Scarce  and  Curious  Prints  by  the  Early  Masters  of 

the  Italian,  German,  and  Flemish  Schools,  illustrative  of  the  History 
of  Engraving.  100  fine  engravings  in  exact  imitation  of  the  rare 
originals.  India  proofs,  and  heightened  with  silver.  London,  1826. 
Fine  original  copy. 

A superior  copy  of  this  valuable  work,  having  the  duplicates  of  the 
Niellos  printed  in  silver. 

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1239  An  Inquiry  Concerning  the  Invention  of  Printing,  including  also 

Notices  of  the  Early  Use  of  Wood  Engraving  in  Europe,  with  intro- 
duction by  J.  P.  Berjeau.  With  37  plates  and  numerous  wood  engrav- 
ings. London,  1863. 

4to,  half  morocco,  uncut. 

1240  Overton  (T.  C.).  Temple  Builder’s  Most  Useful  Companion.  50 

plates.  London,  1774. 

8vo,  boards,  uncut. 

1241  Paley  (F.  A.).  Manual  of  Gothic  Architecture.  Numerous  woodcuts. 
London,  1846. 

Post  8vo,  calf. 

Palgrave’s  Essays  on  Art.  Pencil  and  Palette,  Goethe’s  Essays  on 
Art,  etc. 

10  vols.,  i2mo  and  8vo. 

166 


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1247 

1248 

1249 

1250 

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1252 

1253 

1254 


Palladio  (Andrea).  First  Book  of  Architecture.  Translated,  with  an 
Appendix  touching  doors  and  windows,  by  Pr  Le  Muet.  Translated 
out  of  French  by  Godfrey  Richards.  Numerous  copper  plates.  Lon- 
don, 1700. 

4to,  cloth. 

Parables  of  Our  Lord.  Every  page  illuminated.  New  York  [Lon- 
don], 1849. 

i2mo,  stamped  wood. 

[Parker  (John  H.)].  Glossary  of  Terms  used  in  Grecian,  Roman, 
Italian,  and  Gothic  Architecture.  700  woodcuts  and  engravings.  Ox- 
ford, 1840-41. 

3 vols.,  8vo,  half  morocco,  gilt  top, 'uncut  edges. 

Passavant  (M.).  Tour  of  a German  Artist  in  England,  etc.  Portrait 
and  plates.  London,  1836. 

2 vols.,  crown  8vo,  half  calf. 

Pater  (W.  H.).  Studies  in  the  History  of  the  Renaissance.  London, 
1873. 

First  edition. 

Crown  8vo,  cloth. 

Paton.  Compositions  from  Shakespeare’s  Tempest.  By  Sir  J.  Noel 
Paton.  15  engravings  in  outline  and  title.  London,  1877. 

Oblong  4to,  cloth. 

Patterson  (R.  H.).  Essays  in  History  and  Art.  London,  1862. 

8vo,  cloth,  uncut. 

Pattison  (Mrs.  Mark).  The  Renaissance  of  Art  in  France.  19  steel 
plates.  London,  1879. 

2 vols.,  8vo,  cloth,  uncut. 

Pembroke  (Thomas,  Earl  of).  Description  of  the  Antiquities  and 
Curiosities  in  Wilton  House.  Anecdotes,  etc.,  of  Thomas,  Earl  of 
Pembroke.  25  engravings.  Sarum,  1786. 

4to,  boards,  uncut. 

Perrot  and  Chipiez.  History  of  Art  in  Ancient  Egypt.  Translated 
by  W.  Armstrong.  14  steel  and  colored  plates,  598  woodcuts.  London, 
1883. 

2 vols.,  royal  8vo,  cloth. 

History  of  Art  in  Chaldea  and  Assyria.  Translated  by  W.  Arm- 
strong. 15  steel  and  colored  plates,  452  engravings  in  the  text.  Lon- 
don, 1884. 

2 vols.,  royal  8vo,  cloth. 

Perry  (W.  C.).  Greek  and  Roman  Sculpture.  268  illustrations.  Lon- 
don, 1882. 

4to,  cloth. 


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1261 

1262 

1263 

1264 

1265 

1266 


Petersen  (H.).  Polyandre.  De  l’ancien  age  de  fer  a Nordrup  en  Sel- 
ande.  Muller  (S.).  Colliers.  De  la  fin  de  l’age  de  bronze,  et  du 
premier  age  de  fer  (Danish  text,  French  resumes  by  Beauvois). 
Plates  (one  colored)  and  woodcuts.  Kj<£benhavn,  1890. 

4to,  boards. 

Pettigrew  (T.  J.).  History  of  Egyptian  Mummies.  13  plates  (some 
colored  and  stained).  London,  1834. 

4to,  boards  (loose  in  covers). 

Phillips  (Thomas).  Lectures  on  the  History  and  Principles  of  Paint- 
ing. London,  1833. 

8vo,  cloth,  uncut. 

Planchd  (J.  R.).  British  Costume.  Illustrated.  London,  1846. 

Post  8vo,  cloth,  uncut. 

Pollio  (M.  V.)  Architecture.  Translated  from  Latin  by  J.  Gwilt. 
13  plates.  London,  i860. 

Post  8vo,  flexible  cloth. 

Poniatowski  (Prince).  Explanatory  Catalogue  of  Proof  Impressions 
of  Antique  Gems  of . Essay  on  Ancient  Gems  and  Gem  En- 

graving by  Prendeville.  London,  1841. 

4to,  cloth. 

Poole,  Richmond,  Poynter,  Morris,  etc.  Lectures  on  Art.  London, 

1882. 

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Portfolio  (The).  An  Artistic  Periodical,  edited  by  Philip  Gilbert 
Hamerton.  Photographs,  etchings,  colored  plates,  etc.  London, 
1870-80,  inclusive. 

11  vols.,  folio,  cloth  (loose  in  covers). 

Portraits  and  Paintings.  Historic  Gallery  of  Numerous  Outline 
Etchings.  London,  1807-11. 

7 vols.,  8vo,  half  calf. 

Poussin  (Nicolas).  Vie  de , considere  comme  chef  de  l’£cole 

Frangoise.  Par  P.  M.  Gault  de  Saint  Germain.  Portrait  and  numerous 
engravings  and  etchings.  Paris,  1806. 

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Memoirs  of  Life  of . By  Maria  Graham.  Portrait  and 

plate.  London,  1820. 

8vo,  half  calf. 

Poynter  (E.  J.).  Ten  Lectures  on  Art.  London,  1879. 

Crown  8vo,  cloth,  uncut. 


168 


1267 

1268 

1269 

1270 

1271 

1272 

1273 

1274 

1275 

1276 

1277 

1278 


Poynter  and  Head.  Classic  and  Italian  Painting.  Illustrated.  New 
York,  1880. 

Crown  8vo,  cloth. 

Price  (Uvedale).  Essays  on  the  Picturesque,  as  compared  with  the 
Sublime  and  the  Beautiful ; and,  on  the  Use  of  Studying  Pictures,  for 
the  purpose  of  improving  real  landscape.  London,  1810. 

3 vols.,  8vo,  old  calf. 

Prime  (Wm.  C.).  Pottery  and  Porcelain  of  all  Times  and  Nations. 
Profusely  illustrated.  Very  scarce.  New  York,  1878. 

Square  8vo,  cloth,  gilt  top. 

Quatremere  de  Quincy.  Essay  on  the  Nature,  the  End,  and  the 
Means  of  Imitation  in  the  Fine  Arts.  Translated  by  J.  C.  Kent.  Very 
scarce.  London,  1837. 

8vo,  half  calf. 

Raffaello  Sanzio  d’Urbino.  Analysis  of  the  Picture  of  the  Trans- 
figuration. Translated  from  French,  and  Remarks  and  Observations  of 
Vasari,  Mengs,  Reynolds,  Fuseli,  etc.  17  heads  traced  from  the  picture 
and  finished  of  same  size,  by  Gaubaud.  London,  1817. 

Imperial  4to,  half  roan.  „ ^ 

Another  edition.  London,  1833. 

Imperial  4to,  half  morocco. 

Book  of  the  Cartoons.  By  the  Rev.  R.  Cattermole.  Steel  plates 

by  Warren.  London,  1840. 

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Photographs.  London,  1861. 

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Facsimiles  of  original  studies  by  , in  the  University 

Galleries,  Oxford.  61  etchings  by  Joseph  Fisher.  London,  1872. 

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Translated  by  Louis  Fagan.  London,  1882, 

8vo,  half  vellum,  uncut. 

169  ... 


1279 

1280 

1281 

1282 

1283 

1284 

1285 

1286 

1287 

1288 

1289 


Raffaello  Sanzio  d’Urbino.  His  Sonnet  in  the  British  Museum. 
Studied  by  Louis  Fagan.  3 facsimiles.  Fine  Art  Society,  London, 
1884. 

4to,  cloth,  gilt  top,  uncut  edges. 

School  of  Raphael  ; or,  the  Students’  Guide  to  Expression  in 

Historical  Painting.  Described  and  explained  by  B.  Ralph.  Numer- 
ous plates  (some  in  two  states).  London,  n.  d. 

4to,  half  calf,  uncut. 

Ram  Raz.  Essay  on  the  Architecture  of  the  Hindus.  48  plates. 
London,  1834. 

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Rawlinson  (W.  G.).  Turner’s  Liber  Studiorum.  A Description  and  a 
Catalogue.  London,  1878. 

8vo,  boards,  uncut. 

Reber  (Franz  von).  History  of  Ancient  Art.  Translated  and  aug- 
mented by  J.  T.  Clarke.  Illustrated.  New  York,  1882. 

8vo,  cloth. 

Redgrave  (R.  and  S.).  Century  of  Painters  of  the  English  School 
with  critical  notices  of  their  works,  etc.  London,  1866. 

2 vols.,  8vo,  cloth,  uncut. 

Reiss  and  Stubel.  Necropolis  of  Ancon  in  Peru.  A contribution  to 
our  knowledge  of  the  culture  and  industries  of  the  empire  of  the  Incas. 
Translated  by  A.  H.  Keane.  141  superb  colored  plates.  Berlin, 
1880-87. 

3 vols.  (unbound)  in  15  wrappers,  folio,  boards. 

Rembrandt.  A Descriptive  Catalogue  of  the  Works  of,  and  his  Schol- 
ars. Compiled  from  the  original  etchings  and  from  catalogues,  by  D. 
Daulby.  Portrait  after  Rembrandt.  Liverpool,  1796. 

Crown  8vo,  cloth. 

Catalogue  of  Etchings  by . Collected  by  Robert-Dumes- 

nil.  London,  1836. 

Scarce  and  valuable. 

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Descriptive  Catalogue  of  the  Prints  of . By  an  amateur 

[T.  Wilson].  London,  1836. 

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and  his  Works.  By  John  Burnet.  Portrait,  etchings,  and  fac- 
simile of  handwriting.  Scarce.  Fine  original  copy.  London,  1849. 

4to,  cloth  (loose  in  covers). 


170 


1290 

1291 

1292 

1293 

1294 

1295 

1296 

1297 

1298 

1299 

1300 


Rembrandt.  Catalogue  of  Etched  Work  of  . Selected  for 

Exhibition  at  the  Burlington  Fine  Arts  Club.  With  introductory 
remarks  by  a Member  of  the  Club.  Facsimile  reproductions . Privately 
printed  for  the  Club,  1877. 

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Descriptive  Catalogue  of  the  Etched  Work  of . By  C.  H. 

Middleton.  12  plates.  London,  1878. 

Royal  8vo,  half  roan,  gilt  top,  uncut. 

The  Art  of . By  Henry  Van  Ingen.  Brooklyn,  1885. 

4to,  paper. 

Blanc  (C.)  L’QEuvre  Complet  de  Rembrandt,  Catalogue  Raisonn£ 

de  toutes  les  eaux-fortes  du  Maitre  et  de  ses  peintures.  With  numerous 
etchings.  Paris,  n.  d. 

2 vols.,  8vo,  half  morocco,  gilt  edges. 

Richardson  (C.  J.).  An  Englishman’s  House.  Colored  frontispiece 
and  numerous  illustrations.  London,  n.  d. 

Crown  8vo,  cloth,  uncut. 

Roget  (J.  L,).  History  of  the  “Old  Water-Color”  Society,  etc.  Lon- 
don, 1891. 

2 vols.,  royal  8vo,  cloth,  uncut. 

Rome  (Views  of).  Vedute  antiche  e moderne  le  piu  interessanti  della 
citta  di  Roma.  Incise  da  vari  Autori.  100  engravings.  Rome,  n.  d. 

4to,  paper,  uncut  (cover  damaged). 

Rosengarten  (A.).  Handbook  of  Architectural  Styles.  Translated  by 
Collett-Sandars.  639  illustrations.  London,  1876. 

8vo,  cloth,  uncut. 

Rossetti  (W.  M.).  Fine  Art,  chiefly  Contemporary.  London,  1867. 

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Rubens.  Original  unpublished  papers  illustrative  of  the  Life  of  Sir 
Peter  Paul  Rubens,  as  an  Artist  and  a Diplomatist.  With  an  Appendix. 
Collected  and  edited  by  W.  Noel  Sainsbury.  Colored  frontispiece. 
London,  1859. 

8vo,  half  calf. 

Ruskin  (John).  Giotto  and  his  Works  in  Padua  : being  an  Explanatory 
Notice  of  the  Series  of  Woodcuts  Executed  for  the  Arundel  Society, 
after  the  Frescoes  in  the  Arena  Chapel.  2 plates.  London.  Printed 
for  the  Arundel  Society,  1854. 

Very  rare.  The  scarcest  of  Ruskin  s works. 

Royal  8vo,  half  morocco,  gilt  edges. 


1301  Ruskin  (John).  Art  Culture  : a Handbook  of  Art  Technicalities  and 

Criticisms,  selected  from  the  works  of  , and  arranged  and 

supplemented  by  Rev.  W.  H.  Platt.  Colored  frontispiece,  plates, 
and  woodcuts.  New  York,  1873. 
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1302  Notes  on  his  Collection  of  Drawings,  by  the  late  J.  M.  W.  Turner, 

exhibited  at  the  Fine  Art  Society’s  Galleries  ; also  a list  of  the  engraved 
work  of  that  master  shown  at  the  same  time.  35  plates  and  map  in- 
dicative of  the  places  in  the  British  Isles  illustrated  by  him.  Printed 
for  the  Fine  Art  Society.  London,  1878. 

Large  paper  copy.  First  edition. 

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1303  Saints  and  Their  Symbols.  By  E.  A.  G.  Woodcuts.  London,  1881. 

Post  8vo,  cloth. 

1304  Salvator  Rosa.  Life  and  Times  of.  By  Lady  Morgan.  Portrait. 

Bookplates.  London,  1824. 

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1305  Scarabees  Egyptians  figures  du  Musee  des  Antiques  de  sa  Majeste 

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Planetarum  Georgii  Purbachii.  Woodcuts.  Basileae,  1556. 

Extremely  rare.  Libri’s  copy  brought  yQ 22  10s. 

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bergae,  1550. 

Extremely  rare. 

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1308  Scott  (Leader).  Renaissance  of  Art  in  Italy.  Illustrated.  New  York, 

1883. 

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1309  Scott  (W.  B.).  Half-hour  Lectures  on  the  History  and  Practice  of  the 

Fine  and  Ornamental  Arts.  50  illustrations  by  W.  J.  Linton.  New 
York,  1875. 

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1310  Another  copy. 

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1311  Sculpture.  Familiar  Sketches  of  Sculpture  and  Sculptors.  Boston, 

1854. 

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172 


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9 vols.,  royal  folio,  half  russia. 

1313  Shee  (M.  A.).  Rhymes  on  Art;  or,  the  Remonstrance  of  a Painter. 

Philadelphia,  1811. 
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1314  Slater  (J.  H.).  Engravings  and  their  Value.  London,  1891. 

Crown  8vo,  cloth. 

1315  Smith  (Dr.  John).  Choir  Gaur  ; the  Grand  Orrery  of  the  Ancient 

Druids,  commonly  called  Stonehenge.  Copperplates.  Salisbury,  1771. 
Printed  for  the  author. 

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New  York,  1846. 

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1317  Smith  (J.  Moyr).  Ed.  Ancient  Greek  Female  Costume.  112  plates 

and  numerous  woodcuts.  London,  1882. 

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1318  Smith  (J.  T.).  Nollekens  and  his  Times,  with  Memoirs  of  Contem- 

porary Artists.  Portrait.  London,  1829. 

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1319  Smith  and  Slater.  Architecture,  Classic  and  Early  Christian.  Illus- 

trated. London,  1888. 

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1320  Solon  (L.  M.).  Art  of  the  Old  English  Potter.  Illustrated  by  the 

author.  New  York,  1866. 

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1321  Another  copy. 

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1322  Sommerville  (Maxwell).  Engraved  Gems:  their  Place  in  the  History 

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delphia, 1877. 

2 vols.  in  1,  8vo,  cloth. 

1323  South  Kensington  Museum.  Robinson  (J.  C.).  Italian  Sculpture 

of  the  Middle  Ages  and  Period  of  the  Revival  of  Art.  Descriptive 
catalogue.  Plates.  London,  1862. 

Royal  8vo,  cloth. 


173 


1324 

1325 

1326 

1327 

1328 

1329 

1330 

1331 

1332 

1333 

1334 


South  Kensington  Museum.  Robinson  (J.  C.).  Another  copy. 

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South  Kensington  Museum  Art  Handbooks.  Majolica  and 
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wood  (2  vols.). — Industrial  Arts  of  Denmark,  by  J.  J.  A.  Worsaae. — 
Jones  Collection.  (Portrait.)  Maps  and  woodcuts.  London,  1876-83. 

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Spence.  Polymetis  ; or,  An  Inquiry  concerning  the  Agreement  between 
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Artists.  Portraits  and  plates.  London,  1774. 

Folio,  calf. 

Spooner  (S.).  Biographical  and  Critical  Dictionary  of  Painters,  En- 
gravers, Sculptors,  and  Architects.  Portrait.  New  York,  1853. 

Royal  8vo,  half  morocco. 

Anecdotes  of  Painters,  Engravers,  Sculptors,  Architects,  and 

Curiosities  of  Art.  New  York,  1853. 

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Stephens  (F.  G.).  Flemish  and  French  Pictures,  with  notes  concern- 
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don, 1875. 

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Stewart  Collection.  (4  copies.)  Handbook  of  Needlework.  Art 
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Stoddard  (John  L.).  Glimpses  of  the  World.  Portrait  and  numerous 
illustrations.  1892. 

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Storer  (James).  Cathedrals  of  Great  Britain  : History  and  Antiquities 
of.  256  fine  plates.  London,  1814-19. 

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Story  (W.  W.).  The  Proportions  of  the  Human  Figure.  Diagrams, 
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174 


1335  Streeter  (E.  W.).  Precious  Stones  and  Gems.  Colored  plates  and 

photographs.  London,  1877. 

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1336  Great  Diamonds  of  the  World.  Edited  and  annotated  by  J. 

Hatton  and  A.  H.  Keane.  London  (1882). 

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1337  Sully  (Thomas).  Hints  to  Young  Painters,  and  the  Process  of  Portrait 

Painting.  Illustrated.  Philadelphia,  1873. 

8vo,  cloth. 

1338  Another  copy. 

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1339  Taine  (H.).  Ideal  in  Art.  Translated  by  J.  Durand.  New  York,  1869. 

121110,  cloth. 

1340  Taylor  (G.  L.).  Stones  of  Etruria  and  Marbles  of  Antient  Rome. 

8 plates  (some  colored).  London,  1859. 

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1341  Taylor  (Sedley).  Sound  and  Music.  Illustrations.  London,  1873. 

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1342  Thies  (Louis).  Catalogue  of  the  Collection  of  Engravings  bequeathed 

to  Harvard  College  by  Francis  Calley  Gray.  Portrait.  Cambridge, 
1869. 

4to,  cloth. 

1344  Thompson  (Kate).  Handbook  to  the  Public  Picture  Galleries  of 

Europe.  London,  1877. 

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1345  Thornbury  (George  W.).  Art  and  Nature  at  Home  and  Abroad.  Lon- 

don, 1856. 

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1346  Tiffin  (W.  F.).  Gossip  about  Portraits,  principally  engraved  portraits. 

London,  1869. 

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1347  Titian.  Notices  of  the  Life  and  Works  of.  By  A.  Hume.  Portrait  on 

India  paper.  London,  1829. 

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1348  — — Life  of.  With  Anecdotes.  By  James  Northcote.  Portrait.  Lon- 

don, 1830. 

2 vols.,  8vo,  calf  (cover  of  Vol.  I.  slightly  damaged). 

1349  Torrey  (J.).  A Theory  of  Fine  Art.  New  York,  1874. 

i2mo,  cloth. 


i75 


1350 

1351 

1352 

1353 

1354 

1355 

1356 

1357 

1358 

1359 

1360 

1361 


Toschi’s  Engravings.  From  Frescoes  by  Correggio  and  Parmegiano, 

Reproduced from  the  Gray  Collection  of  Engravings,  Harvard 

University.  24  reproductions.  Boston,  1875. 

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Treadwell  (J.  H.).  Manual  of  Pottery  and  Porcelain  for  American 
Collectors.  Plates  and  woodcuts.  New  York,  1872. 

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Turner  and  Parker.  Domestic  Architecture  in  England.  Profusely 
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Turner  (J.  M.  W.).  Life  of . By  Walter  Thornbury.  Portrait. 

London,  1862. 

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Notes  and  Memoranda  respecting  the  Liber  Studiorum  of . 

Written  and  collected  by  Pye.  Edited  by  Roget.  Frontispiece.  Lon- 
don, 1879. 

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Art  Teaching  of  the  Primitive  Church.  Illustrations.  London, 

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Painting,  etc. 

20  vols.,  i2mo. 

Upcott  (L.  E.).  Introduction  to  Greek  Sculpture.  Oxford,  1887. 
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Urbino,  Day,  etc.  Art  Recreations.  Illustrated.  Boston,  i860. 
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Uzielli  Collection.  Catalogue  of  the  Various  Works  of  Art.  By  J.  C. 
Robinson.  Numerous  plates.  London,  i860. 

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Vasari.  Lives  of  the  Most  Eminent  Painters.  Sculptors,  and  Architects. 
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176 


1362  Vases.  Two  Ancient  Greek  Vases,  known  as  the  Capo  di  Monte  and 

Actaeon,  now  on  view  (by  permission)  in  the  British  Museum.  Photo- 
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Printed  for  private  circulation.  London,  n.  d. 

Secretan  Collection  of  Paintings,  etc.  Catalogue.  Paris,  1889. 
2 vols.  in  1,  royal  8vo,  cloth. 

1363  Vaux  (W.  S.  W.).  Handbook  to  the  Antiquities  in  the  British  Museum. 

Illustrated.  London,  1851. 

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1364  Viardot  (Louis).  Wonders  of  European  Art.  27  reproductions  in  fac- 

simile. London,  1871. 

Crown  8vo,  cloth,  gilt  edges. 

1365  Visconti  and  de  Clarac.  Description  des  Antiques  du  Musee  Royal. 

Interleaved,  and  with  manuscript  notes.  Bookplate.  Paris,  1820. 

8vo,  stamped  russia  (worn),  gilt  edges. 

1365a  Wadleigh  (R.  H.).  Ed.  Headgear,  antique  and  rnodern.  Illustrated. 
Boston,  1879. 

4to,  cloth. 

1366  Wallace  (H.  B.).  Art  and  Scenery  in  Europe,  etc.  Philadelphia,  1857. 

i2mo,  cloth. 

1367  Wallace-Dunlop  (M.  A.).  Glass  in  the  Old  World.  6 plates  (one 

colored).  London,  n.  d. 

8vo,  cloth,  uncut. 

1368  Waring  (J.  B.).  Record  of  my  Artistic  Life.  Plates.  London,  1873. 

Crown  8vo,  cloth. 

1369  Water-color  Drawings  (19),  presented  to  Dr.  West  by  his  pupils  of 

the  Art  Department,  Rutgers  Institute,  New  York,  1840. 

4to,  half  morocco. 

1370  Weale  (John).  Rudimentary  Dictionary  of  Terms  used  in  Architecture 

(Civil  and  Naval),  Building,  and  Construction,  etc.  Illustrated.  Lon- 
don, i860. 

Post  8vo,  flexible  cloth. 

1371  Wedmore  (F.).  Studies  in  English  Art.  Second  Series.  Romney, 

Constable,  David  Cox  (and  6 others).  London,  1880. 

8vo,  cloth,  uncut. 

1372  Weekes  (Henry).  Lectures  on  Art.  Portrait  and  8 photographs. 

London,  1880. 

8vo,  cloth,  uncut. 


12 


177 


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1374 

1375 

1376 

1377 

1378 

1379 

1380 

I38i 

1382 

1383 

1384 

1385 


Werner’s  Nomenclature  of  Colors.  With  additions  ...  to  the 
Arts  and  Sciences  ...  By  Patrick  Syme.  Plates  of  colors.  Edin- 
burgh, 1821. 

8vo,  calf. 

Westman  (H.  O.).  The  Spoon.  8 plates.  New  York,  1844. 

8vo,  half  morocco. 

Westropp  (Hodder  M.).'  Handbook  of  Pottery  and  Porcelain.  Illus- 
trated. New  York,  n.  d. 

i6mo,  cloth. 

Wheatley  and  Delamotte.  Art  Work  in  Gold  and  Silver.  Colored 
fronts  and  woodcuts.  New  York,  1882. 

8vo,  cloth. 

Art  Work  in  Earthenware.  Colored  frontispiece  and  woodcuts. 

New  York,  1882. 

8vo,  cloth,  uncut. 

Whistler  (James  Abbott  MacNeill).  Catalogue  of  the  Etchings  and 
Dry  Points  of . Etched  portrait.  London,  1874. 

8vo,  cloth,  gilt  top,  uncut  edges. 

Whiteford  (S.  T.).  Guide  to  Porcelain  Painting.  Plates  (some  colored). 
London,  n.  d. 

Crown  8vo,  cloth. 

Wilkie  (Sir  David).  Life  of,  with  Journals,  etc.  By  Allan  Cunningham. 
Portrait.  London,  1843. 

3 vols.,  8vo,  half  calf,  gilt. 

Wilson  (H.  H.).  The  Megha  Dfita  or  Cloud  Messenger.  A Poem 
in  the  Sanskrit  Language.  By  Kalidasa.  London,  1843. 

Small  folio,  cloth,  uncut. 

Wilson  (J.  W.).  Collection  de.  Catalogue  and  68  fine  etchings  of  the 
principal  paintings.  Paris,  1873. 

4to,  unbound. 

Winston  (C.).  Memoirs  Illustrative  of  the  Art  of'Glass-painting.  Por- 
trait, colored  plates,  and  woodcuts,  from  the  author’s  original  draw- 
ings. By  Delamotte.  London,  1865. 

8vo,  cloth,  uncut. 

Woltmann  and  Woermann.  History  of  Ancient,  Early  Christian, 
and  Mediaeval  Painting.  Edited  by  Sidney  Colvin.  Numerous  illus- 
trations. New  York,  1880. 

Royal  8vo,  half  russia,  gilt  edges. 

Another  copy. 

Royal  8vo,  cloth. 

178 


1386  Wright  (Thomas).  History  of  Caricature  and  Grotesque  in  Literature 

and  Art.  Illustrations  drawn  and  engraved  by  Fairholt.  London 
[1864]. 

4to,  cloth. 

1387  Wyatt  (M.  Digby).  Fine  Art.  A Sketch  of  its  History,  Theory,  Prac- 

tice, and  Application  to  Industry.  London,  1870. 

8vo,  cloth. 

1388  Yaggy  and  Haines.  Museum  of  Antiquity.  Description  of  Ancient 

Life.  Engravings  and  woodcuts.  New  York,  1882. 

8vo,  cloth. 

1389  Young  (John).  Catalogue  of  Pictures  by  British  Artists,  in  the  posses- 

sion of  Sir  John  Fleming  Leicester,  etc.  69  etchings.  London,  1825. 
Imperial  8vo,  half  morocco. 

1390  Zerffi  (G.  G.).  Manual  of  the  Historical  Development  of  Art.  Frontis- 

piece and  diagrams.  London,  1876. 

Crown  8vo,  cloth. 


THOMAS  E.  KIRBY, 

Auctioneer. 


AMERICAN  ART  ASSOCIATION. 

Managers. 


179 


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